Relevant bibliographies by topics / Placebo (Musical group)

Contents

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

Academic literature on the topic 'Placebo (Musical group)'

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Placebo (Musical group).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Placebo (Musical group)"

1

Damian, Malika, and Christoff Zalpour. "Trigger Point Treatment with Radial Shock Waves in Musicians with Nonspecific Shoulder-Neck Pain: Data from a Special Physio Outpatient Clinic for Musicians." Medical Problems of Performing Artists 26, no. 4 (December 1, 2011): 211–18. http://dx.doi.org/10.21091/mppa.2011.4034.

Full text
Abstract:
Musicians often suffer from disorders of the musculoskeletal system that are related to their instrument playing. Among the most frequent symptoms are complaints in the shoulder-neck area. Radial shock wave therapy is increasingly used in trigger point treatment, but only few high-level studies have examined of shock wave therapy used together with physical therapy in the treatment of musicians. METHODS: This randomized blinded study in musicians (n = 26) with nonspecific shoulder-neck problems was done to examine the effect of shock wave therapy in addition to current physical therapy on the symptoms and quality of life of the musicians as well as their habits of playing musical instruments (intervention group shock wave vs reference group placebo). The effects were documented by a pain VAS and other instruments. A questionnaire designed specifically for musicians (with initial and final questions) recorded intensity and manifestation of pain and handicaps in daily life, especially when practicing and playing. The Shoulder Pain and Disability Index (SPADI) and the Neck Pain Disability Index Questionnaire (NPDIQ) were also used. RESULTS: Both groups reported subjective improvement in pain, but significance was found only for the intervention group for the SPADI and NPDIQ. CONCLUSIONS: Trigger point treatment with radial shock wave used in combination with physical therapy makes the subjects feel temporarily relieved of neck and shoulder pains. The effects of radial shock wave without physical therapy will need to be examined in further studies.
APA, Harvard, Vancouver, ISO, and other styles
2

Kenny, Dianna T., and Naomi Halls. "Development and evaluation of two brief group interventions for music performance anxiety in community musicians." Psychology of Music 46, no. 1 (May 17, 2017): 66–83. http://dx.doi.org/10.1177/0305735617702536.

Full text
Abstract:
This study presents the development, administration and evaluation of two brief group interventions for music performance anxiety (MPA) aimed at reducing anxiety and improving performance quality. A cognitive behavioural therapy intervention was developed based on an existing empirically-supported treatment Chilled (Rapee et al., 2006), focusing on cognitive, physiological and behavioural symptoms. The second treatment, anxiety sensitivity reduction, targeted primarily physiological symptoms and included relaxation strategies. Interventions were administered in a workshop format over one day with four intervention sessions, preceded by a pedagogic practice skills session that functioned as a control/placebo intervention. A quasi-experimental group randomization design compared the interventions in a heterogeneous sample of community musicians. Sixty-eight participants completed measures of trait anxiety, anxiety sensitivity, depression, and MPA. Participants performed four times (pre- and post-placebo, post-treatment and follow-up) and were assessed for state anxiety and performance quality at each performance. Results indicated that both interventions offered moderately significant gains for the musicians: anxiety was reduced and performance quality improved after each intervention and changes were maintained at follow-up. Anxiety sensitivity reduction showed a trend to exceed the CBT-based interventions, but a larger, higher-powered study is needed to confirm this advantage.
APA, Harvard, Vancouver, ISO, and other styles
3

Munasinghe, M. A. A. K., C. Abeysena, I. S. Yaddehige, T. Vidanapathirana, and K. P. B. Piyumal. "Blood Sugar Lowering Effect ofCoccinia grandis(L.) J. Voigt: Path for a New Drug for Diabetes Mellitus." Experimental Diabetes Research 2011 (2011): 1–4. http://dx.doi.org/10.1155/2011/978762.

Full text
Abstract:
Background. Role of herbs in the management and control of diabetes has emerged fast over the years. We assessed the efficacy ofCoccinia grandis(locally known as Ken, Kovakka) leaves as a hypoglycemic agent.Methods. Double-blind phase I clinical trial was conducted at the general hospital and a private hospital in Matara in August 2009. All the participants were given a common meal for dinner, and they maintained a 10-hour fasting period. Sixty-one healthy volunteers were given a meal containing 20 g of leaves ofCoccinia grandiswhich was mixed with a measured amount of scraped coconut and table salt for breakfast, and other 61 were given the placebo meal which also contained scraped coconut and salt. Glucose tolerance test was performed blindly for the two groups. Mixed factorial design analysis of variance and student'st-test were applied.Results. Overall blood sugar levels of the experimental group were also significantly lower than those of the control group (F(1,117) 5.56, ). Increase in the blood sugar levels from fasting to one hour (F(1,117) 6.77, ) and two hours (F(1,117) 5.28, ) postprandially was statistically significant for participants who were in the control group than those of in the experimental group. The mean difference of postprandial blood sugar levels (mg/dL) after one hour (20.2, 95% confidence interval, 4.81 to 35.5) and two hours (11.46, 95% confidence interval; 1.03 to 21.9) was statistically significant between the two groups.Conclusions.Coccinia grandishas a blood sugar lowering effect. However further studies are needed to validate our findings.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Placebo (Musical group)"

1

Kearney, Meghan Andrea. "Every Town Is All the Same When You've Left Your Heart in the Portland Rain: Representations of Portland Place and Local Identity in Portland Popular Lyrics." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1489.

Full text
Abstract:
This study looks at how place and local identity of Portland are described within music lyrics from Portland, Oregon popular indie-rock artists. Employing a constant comparative analysis on a set of 1,201 songs from 21 different popular Portland indie-rock artists, the themes of landscapes and climate were found to represent place, and themes of lifestyles and attitudes represented local identity. Reviewing the uncovered themes showed a strong connection between representations of place and local identity within lyrics and common stereotypes or understandings of the city of Portland and its indie-rock music scene. The results of this study illustrate how place and local identity are communicated through popular but locally-tied music lyrics and how these lyrics may describe cities.
APA, Harvard, Vancouver, ISO, and other styles
2

Du, Plooy Anna C. "An approach to music education in the final phase of high school : possibilities suggested by the learning that took place in a student band playing original, popular music." Thesis, 1998. http://hdl.handle.net/10413/8872.

Full text
Abstract:
In South Africa, both the paradigm for music education and the music syllabus need to change: music teachers need to correct and compensate for the consequences of the Apartheid system of the past, and they need to meet the challenges of the outcomes based model of Curriculum 2005, which has been accepted by the National Education Department as the plan which will be followed in the future. This dissertation attempts to contribute to the implementation of Curriculum 2005 by making a case study of a successful student band, Amethyst, all of whose members were almost entirely self taught in music. After identifying what the members of Amethyst learned and how they learned it, the work finds ways of applying the findings from the case study to the teaching of music in the Further Education and Training phase of Curriculum 2005. The case study is contextualised by a consideration of the salient characteristics of outcomes-based education as embodied in Curriculum 2005 and by including discussion of similarities between the way learning took place in Amethyst and the informal learning of music that takes place in African and Indian communities within South Africa. These similarities in learning methods are ones that fit well with the perspectives propagated by outcomes-based education. Practical suggestions for the classroom take cognizance of the intercultural ideals of Curriculum 2005, and these suggestions are presented within a framework based on the critical cross-field outcomes and specific outcomes identified in this curriculum. The matters of evaluation and assessment, as well as the content of learning programs are also addressed. This dissertation is based on qualitative research methods, including interviews with the band members, their parents, some students who were well acquainted with the band, and two educationists with specialised knowledge concerning the new OBE system. The case study also includes an exploration of the reasons for the boys choosing to teach themselves even though music was available as a subject in their school , an exploration which confirmed that the current music education system has become outdated.
Thesis (M.Mus.)-University of Natal, Durban, 1998.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Placebo (Musical group)"

1

Michaud, Sébastien. Placebo: Des cadences et des maux. Rosières-en-Haye: Camion blanc, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Charles, Peterson. Pearl Jam: Place/date. Seattle: Ten Club, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Charles, Peterson. Pearl Jam: Place/date. New York: Universe, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Bowman, David. This Must Be the Place. New York: HarperCollins, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

AC/DC: Hell ain't a bad place to be. New York: St. Martin's Press, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Crain, S. R. The changing faces and places of the famous Soul Stirrers, 1926-1956: Photos and stories of and by S.R. Crain. Lufkin, Tex: Sempco Pub. Co., 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

(Editor), Leigh Ann Deremer, and Luann Brennan (Editor), eds. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Dueck, Jonathan, and Suzel Ana Reily, eds. The Oxford Handbook of Music and World Christianities. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199859993.001.0001.

Full text
Abstract:
The Oxford Handbook of Music and World Christianities investigates the role of music in Christian practice and history across contemporary world Christianities (including chapters focused on communities in the Americas, Europe, Africa, Asia, and Australia). Using ethnography, history, and musical analysis, it explores Christian groups as sites of transmission, transformation, and creation of deeply diverse musical traditions. The book traces five themes: music and missions, music and religious utopias, music and conflict, music and transnational flows, and music and everyday life. The volume approaches Christian musical practices as powerful windows into the ways music, religious ideas, capital, and power circulate (and change) among places. It also pays attention to the ways Christian musical practices encompass and negotiate deeply rooted values. The volume reveals the active role music plays in maintaining and changing religious, moral, and cultural practices, narratives, and values in a long history of intercultural and transnational encounters.
APA, Harvard, Vancouver, ISO, and other styles
9

Wall, Mick. AC/DC: Hell ain't a bad place to be. 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Bowman, David. This Must Be the Place: The Adventures of Talking Heads in the Twentieth Century. Harper Paperbacks, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Placebo (Musical group)"

1

Gould, Elizabeth. "Where Does Diversity Go Straight? Biopolitics, Queer of Color Critique, and Music Education." In The Politics of Diversity in Music Education, 151–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65617-1_11.

Full text
Abstract:
AbstractDiversity discourses in music education have evolved from (white) liberalism of the 1990s that conceived difference in terms of dualisms such as insider/outsider to global neoliberalism currently in which sources of difference are interchangeable as long as the historicity of each remains occluded. In this way, so-called “diversity-relevant” groups, such as white queer people are positioned against non-white groups, straight or otherwise, in ways that support neoliberalism and contribute to violence against the latter. To ask where diversity goes straight assumes a place where it is not straight—if not exactly queer, with queer understood (in the context of race) as a “refusal to inherit” kinship relations in which queer(s) disappear(s). Whether conceived in terms of culture, race, (dis)ability, gender, and/or sexuality, diversity has become “all the rage” in music education and academic research generally. Theorizing diversity discourses in music education at their discursive limits, I argue that those limits are also where they also may be exceeded and demonstrate this through an example using queer of color critique to analyze interactions of sources of difference as a way to historicize and racialize “diversity” in music education.
APA, Harvard, Vancouver, ISO, and other styles
2

Coleman, Billy. "Introduction." In Harnessing Harmony, 1–12. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469658872.003.0001.

Full text
Abstract:
This introduction overviews the book’s argument about how early Americans discovered the political power of music. Music had always been ground of contestation for early Americans but following the ratification of the US Constitution conservative elites in particular looked to music to persuade Americans to rise above political and partisan conflict to instead create a more unified, ordered, and deferential society. This conservative tradition of eliciting political effect from music’s improving, elevating, and refining effects as opposed to its more radical, or disruptive, qualities was intended to unite a diverse population in support of its leaders. However, it also placed music at the center of fraught debates over the proper relationship between the American people and their leaders. Despite resistance from various groups, conservative ideals of musical power successfully shaped perceptions of its political use at least through to the end of the American Civil War.
APA, Harvard, Vancouver, ISO, and other styles
3

Decker, Todd. "Metered." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0010.

Full text
Abstract:
Having set aside the military march, serious post-Vietnam war films have explored other strongly metrical musics. Three World War II films have turned to triple-meter, or waltz-time, themes. Band of Brothers and Flags of Our Fathers alike use tuneful waltz-time music to support a sentimental transgenerational agenda linking fathers and sons. The Thin Red Line supports the philosophical ruminations of soldiers with a group of triple-meter melodies that create a zone of quiet reflection. Twenty-first-century war films use beat-driven music to excite the audience physically and also to characterize new sorts of soldierly action—such as work at a computer—as exciting combat action. Beat-driven combat film scores for Black Hawk Down, United 93, and Green Zone are compared. Finally, an extended combat sequence from The Thin Red Line scored to a stately ostinato musical cue is considered as an extreme case of music taking the place of diegetic sound.
APA, Harvard, Vancouver, ISO, and other styles
4

Lapidus, Benjamin. "Sonny Bravo, Típica 73, and the New York Sound." In New York and the International Sound of Latin Music, 1940-1990, 82–150. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.003.0003.

Full text
Abstract:
This chapter focuses on an in-depth study of Elio Osácar a.k.a. Sonny Bravo, whose career as an arranger and performer began in the 1950s. It examines the rise, fall, and return of Típica 73, a pan-ethnic salsa group representative of the period 1973–80 that featured musicians from Panama, Dominican Republic, Cuba, Puerto Rico, and New Yorkers of Cuban, Puerto Rican, and Mexican descent. The chapter recounts the story of a group who covered contemporary Cuban songs and pushed the boundaries of tradition through their instrumentation and performance. It introduces some key band members such as Sonny Bravo and Johnny Rodríguez who represented important New York–based familial and musical lineages. Their success was a direct result of musical innovation and negotiation. The band came to an abrupt end after a career-defining trip to Cuba, where they recorded with Cuban counterparts. Upon their return to the United States, they were branded as communist sympathizers. Ultimately, the chapter presents musical transcriptions of Bravo's arrangements and solos and places his music and his family, via his own father's musical career, within the historical context of early-twentieth-century Cuban migration to Tampa, Miami, and New York.
APA, Harvard, Vancouver, ISO, and other styles
5

Almudena, González, Santapau Manuel, and González Julián Jesús. "EEG Analysis during Music Perception." In Electroencephalography [Working Title]. IntechOpen, 2020. http://dx.doi.org/10.5772/intechopen.94574.

Full text
Abstract:
This review presents the most interesting results of electroencephalographic studies on musical perception performed with different analysis techniques. In first place, concepts on intra-musical characteristics such as tonality, rhythm, dissonance or musical syntax, which have been object of further investigation, are introduced. Most of the studies found use listening musical extracts, sequences of notes or chords as an experimental situation, with the participants in a resting situation. There are few works with participants performing or imagining musical performance. The reviewed works have been divided into two groups: a) those that analyze the EEGs recorded in different cortical areas separately using frequency domain techniques: spectral power, phase or time domain EEG procedures such as potentials event related (ERP); b) those that investigate the interdependence between different EEG channels to evaluate the functional connectivity between different cortical areas through different statistical or synchronization indices. Most of the aspects studied in music-brain interaction are those related to musical emotions, syntax of different musical styles, musical expectation, differences between pleasant and unpleasant music and effects of musical familiarity and musical experience. Most of the works try to know the topographic maps of the brain centers, pathways and functions involved in these aspects.
APA, Harvard, Vancouver, ISO, and other styles
6

Warwick, Jacqueline. "'He's Got the Power': the politics of production in girl group music." In Music, Space and Place, 191–200. Routledge, 2017. http://dx.doi.org/10.4324/9781351217828-12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Pavlicevic, Mercédès. "Between Beats: Group Music Therapy Transforming People and Places." In Music, Health, and Wellbeing, 197–212. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199586974.003.0015.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Williamon, Aaron, Jane Ginsborg, Rosie Perkins, and George Waddell. "Interviews." In Performing Music Research, 129–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198714545.003.0006.

Full text
Abstract:
Chapter 6 of Performing Music Research sets out the characteristic features of research interviews, introducing four types of interview: open interviews, which often arise spontaneously or informally and which are largely unstructured or explore an overarching topic of interest; semi-structured interviews, an approach often taken in music research that relies on a predetermined yet flexible set of principal questions; structured interviews, which make use of fixed and unchangeable questions within an entirely predetermined format; and focus group interviews, which take place with groups of participants rather than individuals. The chapter addresses some of the challenges of using different types of interviews, presents ways to design and conduct interviews effectively, and considers ways to write about and report them.
APA, Harvard, Vancouver, ISO, and other styles
9

Williams, James Gordon. "Billy Higgins in the Zone: Brushwork, Breath, and Imagination." In Crossing Bar Lines, 45–70. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832108.003.0003.

Full text
Abstract:
This Chapter presents an analysis of the late drummer and community leader Billy Higgins’s improvised brushwork and breathing strategies in his performance on Hoagy Carmichael’s “Georgia on My Mind” on his frequent collaborator’s Charles Lloyd’s recording The Water Is Wide (2000). Connecting with the book’s theme of political and cultural considerations of what it means to create Black musical space, Ashon Crawley’s “black pneuma” interpretive frame is used to help understand Higgins’s breathing strategies relative to his drumming as an orchestration of individual and community sound. Higgins’s breathing strategies during improvisation are theorized as a way to cross bar lines, accessing all colors of the human condition while creating a Black sense of musical place. Higgins’s values of musical place-making thrive through his ego-denying philosophy for the benefit of group sound throughout his career and within the social movement of Leimert Park.
APA, Harvard, Vancouver, ISO, and other styles
10

"Group Ginger: Legacy and Place Making through Temporal Use." In The Urban Gaze: Exploring Urbanity through Art, Architecture, Music, Fashion, Film and Media, 45–57. BRILL, 2016. http://dx.doi.org/10.1163/9781848884533_006.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Placebo (Musical group)"

1

Gorodscy, Fábio, Guilherme Feulo, Nicolas Figueiredo, Paulo Vitor Itaboraí, Roberto Bodo, Rodrigo Borges, and Shayenne Moura. "Computer Music Research Group - IME/USP Report for SBCM 2019." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10443.

Full text
Abstract:
The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.
APA, Harvard, Vancouver, ISO, and other styles
2

Amazonas, Mauro, Thais Castro, Rosiane De Freitas, and Bruno Gadelha. "Composing through Interaction: a framework for collaborative music composition based on human interaction on public spaces." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10421.

Full text
Abstract:
Urban public art is a kind of art that is produced and demonstrated in public places, based on the function and connotation of the city itself exerts. As an essential artistic content in the contact of human life, the introduction of technology is a significant trend in public art, and with it, the interaction has become an increasingly relevant aspect of public art in the digital context. In this way, this work presents an environment for creating random collaborative music from interaction in public spaces using mobile technology. The result is a composition that goes towards to John Cage’s methods. However, in our case, all participants are composers and their interactions with space work as the component that brings randomness to composition. A case study was conducted with volunteer students divided into groups. Participants made use of two versions of Compomus - an app developed for immersive interaction with sound. One version encourages movement through the environment, while the other explores the spatiality of sound in a simulated public environment within the university. The interaction of the participants generated ten compositions, five from the first version and five compositions from the second version of the developed application. The sounds resulting from the interaction were made available to the public through a website.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Placebo (Musical group)' for particular source types:
Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography