Relevant bibliographies by topics / Perspectives of new music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Perspectives of new music'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Perspectives of new music"

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Stephens, Johnathan. "‘New Perspectives in Music—New Tasks for Music Education’." International Journal of Music Education os-8, no. 1 (1986): 63–64. http://dx.doi.org/10.1177/025576148600800118.

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Dharmoo, Gabriel, Annette Brosin, Anthony R. Green, et al. "Queer Perspectives in New Music." Circuit: Musiques contemporaines 31, no. 1 (2021): 55. http://dx.doi.org/10.7202/1076405ar.

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Gieseler, Walter. "New Perspectives and New Tasks." International Journal of Music Education os-8, no. 1 (1986): 3–6. http://dx.doi.org/10.1177/025576148600800101.

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Finnissy, Michael. "New Perspectives on Old Complexity." Perspectives of New Music 31, no. 1 (1993): 80. http://dx.doi.org/10.2307/833042.

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Vandagriff, Rachel S. "Perspectives and the Patron: Paul Fromm, Benjamin Boretz and Perspectives of New Music." Journal of the Royal Musical Association 142, no. 2 (2017): 327–65. http://dx.doi.org/10.1080/02690403.2017.1361175.

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ABSTRACTOne of the less studied aspects of post-war musical life is private sponsorship of American modernist composers, such as that by the Fromm Music Foundation (FMF) established in 1952. Using unpublished letters and documents from the FMF archives at Harvard and interviews with people who worked with the founder, Paul Fromm, this article discusses how Fromm's involvement in his foundation led to ventures that were influential on the development of American contemporary music and its relationship to academia. Unlike the Ford or Rockefeller foundations, Fromm sought the role of patron, fostering close relationships with composers and accepting their advice. Yet composers in Fromm's network often had aesthetic visions that were different from his. This article discusses Fromm's sponsorship of the Princeton Seminar in Advanced Musical Studies and the journal Perspectives of New Music, and how the different, complex and contradictory visions held by Fromm and his advisers were representative of those in the larger American music scene.
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Jones, Matthew J. "New Perspectives on Music, Disability and Illness." Journal of the Royal Musical Association 139, no. 2 (2014): 421–30. http://dx.doi.org/10.1080/02690403.2014.944830.

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Webster, Peter R. "New perspectives on music aptitude and achievement." Psychomusicology: A Journal of Research in Music Cognition 7, no. 2 (1988): 177–94. http://dx.doi.org/10.1037/h0094169.

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Rahn, John. "Benjamin Boretz and Perspectives of New Music." Perspectives of New Music 44, no. 1 (2006): 8–9. http://dx.doi.org/10.1353/pnm.2006.0032.

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Manning, Dwight, and Marilia Kamil. "New legislation in Brazilian music education: Studying the law and its implementation." International Journal of Music Education 35, no. 1 (2016): 79–92. http://dx.doi.org/10.1177/0255761415619422.

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In 2008, Brazilian legislators approved a law that added music on a mandatory basis to the basic national school curriculum. Despite the possibilities afforded by this legislation, music educators affirm that many questions remain due to its ambiguity. Given the 2012 deadline for the implementation of this law, there is a need to understand how it was enacted across diverse settings. This study considers the implementation from the perspective of music teachers. Thus, in this interview study, we seek to understand the status of music education throughout the country according to the perspectives of music educators from private and public schools. Such perspectives are situated within reviews of educational history, legislation, policy, and research. Findings point toward the need to (a) address a shortage of music teachers; (b) better define the preparation of professional music educators; and (c) identify pedagogies which are likely to have the greatest impact in implementing this new law.
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Renaud (Ed.), L. T. "Kandinsky Beyond Painting: New Perspectives." Dramaturgias, no. 9 (May 29, 2019): 91–177. http://dx.doi.org/10.26512/dramaturgias.v0i9.24910.

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 This Special Issue on Kandinsky is dedicated to exchanges between Theatre and Music, artists and researchers, practitioners and close observers. The Contents were also selected to interest and surprise the general public’s multitudes of Kandinsky aficionados.
 
 
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Dissertations / Theses on the topic "Perspectives of new music"

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Walker, Sarah Elizabeth. "Eclecticism, postmodernism, subversion : new perspectives on English experimental music." Thesis, City University London, 1995. http://openaccess.city.ac.uk/7774/.

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This thesis investigates the use of reference and quotation in English experimental music. Observing that these phenomena are also common in other areas of music, it attempts to make firm distinctions between various manifestations and offer reasons why eclectic compositions emanating from the experimental tradition are the more effective, both in purely musical terms and in the maintaining of a subversive stance. Chapter One explores the extent to which pluralism in the arts is a direct result of postmodernism. The social effects of postmodernism and their influence on the arts are documented, leading to the conclusion that all instances of eclecticism in contemporary art and music could be categorised as postmodernist in some measure. The idea is then introduced that postmodernism is more than an environmental phenomenon and is an artistic aesthetic in its own right. Works which fall into this category are introduced, and ethical criticisms of them discussed. The idea is asserted that music from the experimental tradition is not connected to this problematic aesthetic. Chapter Two seeks to prove the last point by investigating the history of English experimental music and its independence from the modernist and postmodernist mainstream. After demonstrating this detachment it goes on to suggest ways in which its own history may have provided seeds for the later pluralistic tendencies. Chapter Three focuses on attitudes to history which are peculiar to composers of the experimental tradition. The influence of certain romantic composers is demonstrated with regard to the recent prevalence of transcription and arrangement, and eclectic works which stem from the admiration of earlier composers are discussed in detail. Chapter Four deals with ways in which composers from the experimental tradition have referred to source material from popular culture. It demonstrates how Satie and Ives have been important role models and gives details of compositions which utilise idioms from background music and 'muzak'. Chapter Five presents a methodology for the analysis of pluralistic music which rests on the principles of semiotics. It shows how the methodology could be used to reveal the interaction of references within a work, and suggests how conclusions could be interpreted to serve a better critical awareness of pluralistic music.
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Loya, Shay. "The Verbunkos idiom in Liszt's 'Music of the Future' : historical issues of reception and new cultural and analytical perspectives." Thesis, King's College London (University of London), 2006. https://kclpure.kcl.ac.uk/portal/en/theses/the-verbunkos-idiom-in-liszts-music-of-the-future--historical-issues-of-reception-and-new-cultural-and-analytical-perspectives(9fb79b7f-5f7b-4c15-941a-4ef44ac74378).html.

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Chiang, Jenny Yu Kuan. "Music therapy for young children who have special needs : the music therapy experience from the perspectives of carers and professionals : a thesis submitted to the New Zealand School of Music, Wellington, New Zealand, in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/1046.

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Ji, Jieying. "Establishing a new paradigm for music education in China: from a constructivist perspective." Kansas State University, 2013. http://hdl.handle.net/2097/15571.

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Master of Arts<br>Department of Music<br>Jana Fallin<br>This report presents a feasibility study of operating constructivism in Chinese music education. Major problems have been discussed in each chapter, including the historical background of music education in China, and a philosophical rethinking of current situations in China. Questions have arisen: what is constructivism? Why would it be a new changing point for Chinese music education? What needs to be done to apply constructivism in China? China has a strong background of behavior-focused education. Because of that, music education falls into a teacher directed model, and often loses its impact in public schools for students. But as the development of economy in a worldwide context and a collaboration of multi-cultural environments, music should be recognized as an important role for promoting active learning and cultural understanding. Therefore, music educators in China need to start exploring in new directions for development of music education. Constructivism, as a learning theory provides an understanding of how students learn. Based on constructivism, students would develop their own understanding of knowledge, and build their independent learning skills. Constructivism presents how students truly learn, and it could lead to a new paradigm of music education in China.
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Christensen, Anne Marie. "The solo for a violin : a new perspective on the Italian violinists in London in the eighteenth century." Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/387/.

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Throughout the eighteenth century Italian violinists were praised and admired by London audiences. Though never as feted as the Italian castrati and sopranos, the Italian violinists in eighteenth-century London played a prominent role, featuring as leaders and soloists in every context where music was required. This dissertation focuses on the role the 'Solo' played in the careers of these Italian violinists, and how these artists and this genre fitted in socially, culturally and aesthetically. The 'Solo' was an important tool for them in promoting their careers: it was the repertoire they performed and subsequently published in order to enhance their fame. As a genre, the 'Solo' was uniquely suited to exploring a violinist's artistic invention. Exploring the repertoire provides a new understanding of these artists and the important role they played in eighteenth-century London. First, the Italian violinist is considered through a discussion of the historical and cultural context of eighteenth-century London into which these artists arrived. The cultural scene (including the Italian Opera, the theatres and the emerging public concert scene) is studied, as are various forms of patronage and the tradition of private pupils. The prominence and longevity of the 'Solo' is examined through a consideration of surviving catalogues from the publishers active in London during the century. Concert and publication advertisements support the argument. To understand further why the 'Solo' and the Italian violinist were appreciated, eighteenth-century treatises on aesthetics and musical performance are discussed, exploring the concept of 'Good Taste' and in the process revealing the 'aesthetic of moderation'. Finally, the Solo repertoire itself will be explored, focusing both on contemporary aesthetics and performance practice issues. This will be done both through a general survey of the Solo genre as well as a couple of case studies.
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Monaghan, Úna McAlister. "New technologies and experimental practices in contemporary Irish traditional music : a performer-composer's perspective." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678210.

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This thesis and supporting portfolio examine the intersections between Irish traditional music, experimental music practices, improvisation and interactive technologies. The author is a traditional musician (harper and concertina player), composer and sound engineer. These practices are reflected in a layered methodology that combines ethnography, composition, historical and musicological research, software and interface design, and performance. A portfolio of compositions, improvisations, experiments and demonstrative videos supports the thesis. The second half of the twentieth century marked a revival in Irish traditional music, as well as a flourishing of experimental music activity. John Cage linked Irish traditional music and experimental music composition in Roaratorio, an Irish Circus on Finnegan's Wake. The thesis discusses the creation and performance of a new, multimedia realisation of Cage's score: Owenvarragh, a Belfast Circus on The Star Factory. It discusses improvisation, unconventional notation, human-computer interaction, chance and indeterminacy in Irish traditional music, and the role of the audience. The thesis further describes new systems for improvisation with and without electronic technology, comparing existing variation with free improvisation from th~ point of view of the traditional musician. The work embraces the presentation of Irish traditional dance music without dancers, and exploits the consequences of this for previously rigid rhythmic structures. _ The idea of the traditional musician as a solo performer shapes the work, and drives the creation of several interactive systems for solo performance of Irish harp with computer. Key issues discussed include the capture of rhythm in live electronics, flexibility in control, and the inclusion of spontaneity in performance. A new piece for harp and live electronics is presented, in which the computer sound is controlled by wireless motion sensor. The intersection of Irish traditional and experimental music is shown to be a productive route to explore a wide range of artistic, social and cultural ideas
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Wheeler, T. Ray. "Toward a Framework for a New Philosophy of Music Education: Løgstrup as Synergy Between the Platonic and the Aristotelian Perspectives in the Music Education Philosophies of Bennett Reimer and David Elliott." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/wheeler_t_ray/index.htm.

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Kim, Sooyoung. "Perspectives on the Symbiosis of Traditional and Modernist Techniques in Four Violin Compositions by Sergei Prokofiev." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918892.

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Umstead, Randall A. "A new perspective on the Italian songs of Franz Liszt: an Italian perspective." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1235678838.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.<br>Advisors: Kenneth Griffiths M.M. (Advisor). Mary Henderson-Stucky M.M. (Committee Member), Barbara Paver M.M. (Committee Member). Title from electronic thesis title page (viewed May 1, 2009). Includes abstract. Keywords: Franz Liszt; Petrarch Sonnets; Tre sonetti di Petrarca, national influence. Includes bibliographical references.
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Kahui, Dennis Jon. "A cultural approach to music therapy in New Zealand : a Maori perspective : a dissertation presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at Massey University, NZ School of Music, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/898.

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The main theme of this study is to form a culturally appropriate approach to music therapy concepts from a Maori perspective that could be inclusive and accommodate both Maori and Tauiwi (non-Maori) Rangatahi (adolescents) in health care settings. In order to provide a descriptive account of the holistic aspects of introducing Maori musical concepts in a music therapy setting a qualitative design was employed. The study draws on my personal journal entries, an interview with Kaumatua (Maori respected elders) regarding the appropriateness of introducing and altering traditional Maori musicality to accommodate the patient’s needs and a case study involving the Haka as a music therapy intervention strategy with a young Maori patient diagnosed with schizophrenia. My findings show that as a music therapist consultation with Kaumatua regarding anything related to Maori cultural aspects was essential. I also found that when working with a Maori Rangatahi who is immersed in Maori culture, it created an atmosphere of containment, familiarity, enjoyment, engagement and an environment that facilitated the achievement of therapeutic goals. Te Whare Tapa Wha Maori mental health model is well suited as a music therapy assessment tool to the characteristics of the physical, emotional, spiritual and family context of the Haka. I also found that Tauiwi music therapists wishing to introduce cultural elements must first learn about Maori culture and the people in order to confidently understand the music. Tauiwi Rangatahi may also benefit from the introduction of Maori musicality as a therapeutic means by being an inclusive member of the community and the positive psychological effects. For example, Rangatahi benefited from learning the proper pronunciation and meaning of the Haka, which in turn gave them a sense of achievement. I also found that some Maori protocols fit well with the protocols of music therapy, such as the beginning and endings with a hello and goodbye song.
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Books on the topic "Perspectives of new music"

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New perspectives in music. Sun Tavern Fields, 1994.

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Gritten, Anthony, Anthony Gritten, and Elaine King. New perspectives on music and gesture. Ashgate Pub., 2011.

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New perspectives on music and gesture. Ashgate Pub., 2011.

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Unmasking Ravel: New perspectives on the music. University of Rochester Press, 2011.

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Denac, Olga. New perspectives in music education in Slovenia. Nova Science, 2011.

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The musical culture of Silesia before 1742: New contexts - new perspectives. Peter Lang GmbH, 2013.

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Hernandez, Deborah Pacini. New perspectives on music and identity in the African Diaspora. Redgrave Information Resources Corporation, 1998.

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Kvaalvaag, Robert W. A God of Time and Space: New Perspectives on Bob Dylan and Religion. Cappelen Damm Akademisk/NOASP (Nordic Open Access Scholarly Publishing), 2019.

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Chunn, Mike. The mechanics of popular music: A New Zealand perspective. GP Publications, 1995.

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Friddle, David. Franz Liszt: Music for the Pope among instruments : a new perspective. D. Friddle, 1988.

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Book chapters on the topic "Perspectives of new music"

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Gustafson, Ruth Iana. "Diaspora: A New Paradigm for Music Education." In Exploring Diasporic Perspectives in Music Education. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52105-9_1.

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Quadros, André de. "Sketching a “New Normal”." In Focus: Choral Music in Global Perspective. Routledge, 2019. http://dx.doi.org/10.4324/9780429024627-3.

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Romanelli, Guilherme Gabriel Ballande. "The New Status of Music in Brazilian Schools Since 2012 and the Role of Music Textbooks." In Textbooks and Educational Media: Perspectives from Subject Education. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80346-9_24.

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Stembridge, Christopher. "The new Frescobaldi edition." In Perspectives on Early Keyboard Music and Revival in the Twentieth Century. Routledge, 2017. http://dx.doi.org/10.4324/9781351254960-12.

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Perera, Dushani, Maneesha Rajaratne, Shiromi Arunathilake, Kasun Karunanayaka, and Buddy Liyanage. "A Critical Analysis of Music Recommendation Systems and New Perspectives." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44267-5_12.

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Newman, Kathy M. "Headphones are the New Walls: Music in the Workplace in the Digital Age." In 21st Century Perspectives on Music, Technology, and Culture. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137497604_11.

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Lam, Joseph S. C. "Music, Sound, and Site: A Case Study from Southern Song China (1127–1275)." In New Perspectives on the Research of Chinese Culture. Springer Singapore, 2012. http://dx.doi.org/10.1007/978-981-4021-78-4_6.

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Wilson, Oli. "Perspectives on Music Sharing via Mobile Phones in Papua New Guinea." In Mobile Story Making in an Age of Smartphones. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76795-6_7.

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Lundberg, Dan. "Music Archives, Identity and Democracy. The Role of Archives from New Perspectives." In Ethnomusicology Matters. Böhlau Verlag, 2019. http://dx.doi.org/10.7767/9783205232872.215.

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Knox, Hank, and Taylor Rachelle. "The soloist, seconda pratica, and the madrigal as a template for the new toccata." In Perspectives on Early Keyboard Music and Revival in the Twentieth Century. Routledge, 2017. http://dx.doi.org/10.4324/9781351254960-13.

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Conference papers on the topic "Perspectives of new music"

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Zohn, Steven. "New Perspectives on Telemann’s Instrumental Music at the Dresden Electoral Court." In Das Instrumentalrepertoire der Dresdner Hofkapelle in den ersten beiden Dritteln des 18. Jahrhunderts. Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2019. http://dx.doi.org/10.25366/2019.30.

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Stefanova, Petya, Pavel Stefanov, and Yordan Doychinov. "CREATING DIGITAL EDUCATIONAL CONTENT - OPPORTUNITIES AND PERSPECTIVES FOR CREATIVE INTERACTION IN MUSIC EDUCATION." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.0958.

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Purwins, H., B. Blankertz, and K. Obermayer. "A new method for tracking modulations in tonal music in audio data format." In Proceedings of the IEEE-INNS-ENNS International Joint Conference on Neural Networks. IJCNN 2000. Neural Computing: New Challenges and Perspectives for the New Millennium. IEEE, 2000. http://dx.doi.org/10.1109/ijcnn.2000.859408.

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Jánosi, Andrea. "New Perspectives of Criminal Data Exchange in the European Union." In MultiScience - XXXIII. microCAD International Multidisciplinary Scientific Conference. University of Miskolc, 2019. http://dx.doi.org/10.26649/musci.2019.060.

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King, Rob. "‘Music of the People’: Music From Data as Social Commentary." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.007.

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Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ‘purpose’ of writing such music analysed from the perspective of various commentators.
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Colla, Virginia C. "Rainbow Solfege: new perspective for color theory and music education." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464701.

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Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.

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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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Iazzetta, Fernando. "The Politics of Computer Music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10464.

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When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
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Blume, H., M. Haller, M. Botteck, and W. Theimer. "Perceptual feature based music classification - A DSP perspective for a new type of application." In 2008 International Conference on Embedded Computer Systems: Architectures, Modeling, and Simulation (SAMOS). IEEE, 2008. http://dx.doi.org/10.1109/icsamos.2008.4664851.

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Engelhardt, Markus. "Musik zwischen Nation Building und Internationalität. Italien um 1900." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.54.

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In this article German contributions to periodicals of the International Musicological Society focussing on Italian musical life in Italy around 1900 are analyzed as testimonies of Italy’s new importance as a music nation at that time. The German perspective on musical culture in the Kingdom of Italy follows hierarchies that are closely linked to political and economic rivalry between the two nations. At different levels (music education, formation of composers and musicians, local repertories, musical genres) well-known concepts of German supremacy can be recognized. Nevertheless, the national music debates include also phenomena which strongly confirm music as art of great potential for international consensus.
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Reports on the topic "Perspectives of new music"

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Mahoney, Rob. Perspectives on New Nuclear Monitoring Challenges. Defense Technical Information Center, 2005. http://dx.doi.org/10.21236/ada440550.

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Loveless, Jerry. The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses: Faculty Member Perspectives and Potential Barriers. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.1100.

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Smith, Laura. A Legislative Examination of the New Perspectives Program. Defense Technical Information Center, 1994. http://dx.doi.org/10.21236/ada283177.

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Otsuka, Keijiro, and Shenggen Fan, eds. Agricultural development: New perspectives in a changing world. International Food Policy Research Institute, 2020. http://dx.doi.org/10.2499/9780896293830.

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Weiner, Neal Jonathan. New perspectives in physics beyond the standard model. Office of Scientific and Technical Information (OSTI), 2000. http://dx.doi.org/10.2172/767598.

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Gleeson, Dennis J., Gwen Linde, Kathleen McGrath, Adrienne J. Murphy, and Williamson Murray. New Perspectives on Effects-Based Operations: Annotated Briefing. Defense Technical Information Center, 2001. http://dx.doi.org/10.21236/ada386028.

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Moore, David, and Andrew Smith. Carsey Perspectives: Polling and the New Hampshire Primary. University of New Hampshire Libraries, 2015. http://dx.doi.org/10.34051/p/2020.251.

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Waldfogel, Joel. Bye, Bye, Miss American Pie? The Supply of New Recorded Music Since Napster. National Bureau of Economic Research, 2011. http://dx.doi.org/10.3386/w16882.

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Razin, Assaf, and Chi-Wa Yuen. Capital Income Taxation and Long Run Growth: New Perspectives. National Bureau of Economic Research, 1995. http://dx.doi.org/10.3386/w5028.

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Aboud, Khaled H. New Realities in Iraq and Perspectives in the Future. Defense Technical Information Center, 2007. http://dx.doi.org/10.21236/ada469127.

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