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Bibliografías temáticas / Berklee College of Music

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Artículos de revistas

Literatura académica sobre el tema "Berklee College of Music"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de enero de 2023

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Artículos de revistas sobre el tema "Berklee College of Music"

1

Rhea, Thomas L. "Music synthesis program at Berklee College of Music." Journal of the Acoustical Society of America 110, no. 5 (2001): 2626–27. http://dx.doi.org/10.1121/1.4776865.

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2

Hoover, Anthony K. "Acoustics class at Berklee College of Music." Journal of the Acoustical Society of America 113, no. 4 (2003): 2303. http://dx.doi.org/10.1121/1.4780685.

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3

Hoover, Anthony K. "Acoustics at Berklee College of Music and elsewhere." Journal of the Acoustical Society of America 132, no. 3 (2012): 1958. http://dx.doi.org/10.1121/1.4755207.

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4

Mukherjee, Raunak, and Eric Reuter. "Case study: Multipurpose venue at Berklee College of Music." Journal of the Acoustical Society of America 130, no. 4 (2011): 2333. http://dx.doi.org/10.1121/1.3654335.

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5

Hoover, Anthony K. "Acoustics for the musically‐gifted at Berklee College of Music." Journal of the Acoustical Society of America 117, no. 4 (2005): 2388. http://dx.doi.org/10.1121/1.4785777.

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6

HELMREICH, STEFAN, and PETER McMURRAY. "Tape, Prince, and the Studio: Interview with Susan Rogers 23 May 2016, Cambridge, MA." Twentieth-Century Music 14, no. 1 (2017): 135–47. http://dx.doi.org/10.1017/s1478572217000111.

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Susan Rogers has lived many musical lives. As a faculty member at Berklee College of Music, she directs the Berklee Music Cognition and Cognition Laboratory, expanding her research in auditory memory, which she began during her doctoral studies with Daniel Levitin at McGill University. She also teaches analogue studio production, drawing on two decades of experience in recording studios. She is especially well known for her years working as Prince's staff engineer (1983–87), a period in which she not only encountered Prince's own unique uses of tape, but also created his now-infamous tape vaul

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7

Reuter, Eric L. "Development of an online undergraduate course in acoustics at the Berklee College of Music." Journal of the Acoustical Society of America 134, no. 5 (2013): 4016. http://dx.doi.org/10.1121/1.4830653.

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8

Pieleanu, Ioana. "939 Cafe at Berklee College of Music: From an old office to a performing space." Journal of the Acoustical Society of America 124, no. 4 (2008): 2481. http://dx.doi.org/10.1121/1.4782737.

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9

Rutherford-Johnson, Tim. "THE WORLD IN PIECES: AARON EINBOND." Tempo 73, no. 290 (2019): 7–12. http://dx.doi.org/10.1017/s0040298219000536.

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AbstractAaron Einbond was born in New York in 1978. He received his compositional education in the US (Harvard, University of California, Berkeley), the UK (Cambridge, Royal College of Music) and France (IRCAM), and his teachers have included Mario Davidovsky, Julian Anderson, Edmund Campion and Philippe Leroux. He currently teaches music composition, sound and technology at City University, London. He is interested in applications of technology within instrumental music, and almost all of his works combine electronics and acoustic instruments. Since 2007 – beginning with his piece Beside Ones

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10

Nattiez, Jean-Jacques. "Can One Speak of Narrativity in Music?" Journal of the Royal Musical Association 115, no. 2 (1990): 240–57. http://dx.doi.org/10.1093/jrma/115.2.240.

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The question of musical narrativity, while by no means new, is making a comeback as the order of the day in the field of musicological thought. In May 1988 a conference on the theme ‘Music and the Verbal Arts: Interactions’ was held at Dartmouth College, Hanover, New Hampshire. A fortnight later, a group of musicologists and literary theorists was invited to the Universities of Berkeley and Stanford to assess, in the course of four intense round-table discussions, whether it is legitimate to recognize a narrative dimension in music. In November of the same year, the annual conference of the Am

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