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Artículos de revistas 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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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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11

Pinto, Marco Túlio de Paula. "Victor Assis Brasil: a importância do período na Berklee School of Music (1969-1974) em seu estilo composicional." Per Musi, no. 23 (June 2011): 45–57. http://dx.doi.org/10.1590/s1517-75992011000100006.

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Discussão sobre o papel do ambiente musical de Boston, especialmente da Berklee School of Music entre 1969 e 1974, no desenvolvimento do estilo composicional e das habilidades como arranjador de Victor Assis Brasil (1945-1981) e seus reflexos na parcela de sua produção musical que apresenta a mistura de elementos de música clássica, jazz e música brasileira.

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12

MILLER, LETA E. "Practical Idealism: The Musical Patronage of Phoebe Apperson Hearst." Journal of the Society for American Music 10, no. 4 (2016): 383–421. http://dx.doi.org/10.1017/s175219631600033x.

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AbstractPhoebe Apperson Hearst, called “California's greatest woman” at her death in 1919, was very rich—and very philanthropic. Despite attending school in rural Missouri only a year or so past the eighth grade, Hearst directed her most influential benefactions toward education, particularly for women. She became a prime mover in the kindergarten movement and PTA, established women's scholarships at UC Berkeley, and was UC's first female regent.This article, drawing on Hearst's extensive archive, describes music's role in her philanthropy. She supported individual artists and ensembles, stage

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13

DIAZ-AYALA, CRISTOBAL. "Robin D. Moore, Music and Revolution: Cultural Change in Socialist Cuba (Berkeley, CA: University of California Press and Chicago, IL: Columbia College, Center for Black Music Research, 2006), pp. xvi+350, $25.95; £15.95, pb." Journal of Latin American Studies 39, no. 2 (2007): 431–33. http://dx.doi.org/10.1017/s0022216x07002659.

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14

Heyl, Larry. "James Dashow: 60th Birthday USA Concert Tour College Park, Maryland; Ann Arbor, Michigan; Champaign, Illinois; Seattle, Washington; Eugene, Oregon; Berkeley, California; Dominguez Hills, California; Albuquerque, New Mexico; 14–20 October 2004." Computer Music Journal 29, no. 2 (2005): 82–83. http://dx.doi.org/10.1162/comj.2005.29.2.82.

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15

LeBlanc, Albert. "Organizing College Music Courses." Music Educators Journal 75, no. 8 (1989): 31–34. http://dx.doi.org/10.2307/3400294.

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16

Woods, David. "The College Music Society." International Journal of Music Education os-10, no. 1 (1987): 71. http://dx.doi.org/10.1177/025576148701000134.

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17

Cox, John L. "Royal College Music Society." Psychiatric Bulletin 24, no. 6 (2000): 236. http://dx.doi.org/10.1192/pb.24.6.236-b.

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18

Phillips, Peter, Susan Wollenberg, and Richard Osborne. "College Chat." Musical Times 143, no. 1881 (2002): 77. http://dx.doi.org/10.2307/1004450.

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19

Olsen, Loran. "Native Music in College Curricula?" Wicazo Sa Review 2, no. 2 (1986): 59. http://dx.doi.org/10.2307/1409019.

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20

Berry, Lincoln B. "Rhode Island College Music Building." Journal of the Acoustical Society of America 115, no. 5 (2004): 2440. http://dx.doi.org/10.1121/1.4781889.

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21

Venn, Edward. "London, Royal College of Music." Tempo 60, no. 235 (2006): 80–81. http://dx.doi.org/10.1017/s0040298206330069.

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22

Wang, Lingdan. "Application of Computer Music Technology in College Music Teaching." Journal of Physics: Conference Series 1915, no. 3 (2021): 032073. http://dx.doi.org/10.1088/1742-6596/1915/3/032073.

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23

Liu, Hou Yu. "Application of Music Software in College Professional Music Using." Applied Mechanics and Materials 556-562 (May 2014): 6754–57. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.6754.

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There are many kinds of music software which can apply to almost every field of professional music using, such as solfeggio, vocal music and composing. Software, EarMaster School, can quickly upgrade students’ ability of solfeggio. Simulating stage scenery by using auto accompaniment software can reduce their stress and tension and improve their level of singing. Doing composing practice by using music software can improve learning efficiency. "TT composer" make electronic composing more intuitive, more easily.

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24

Winfield, Alfred John. "Oakley Training College." Musical Times 130, no. 1752 (1989): 62. http://dx.doi.org/10.2307/966346.

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25

Randall, Belle. "Conversations with Wittgenstein, St. Augustine, and Stanley Cavell." Common Knowledge 26, no. 1 (2020): 1–11. http://dx.doi.org/10.1215/0961754x-7899575.

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In memory of Stanley Cavell, a family friend of more than a half-century’s standing writes about his years in Berkeley (1944 to 1964), when he was deciding between music and philosophy as his field and then, eventually, joined the philosophy faculty as a lecturer. This guest column is a collage of diverse original sources—Randall’s poetry and memories, Cavell’s memoir Little Did I Know, and relevant passages in Wittgenstein and Augustine—that involve the interplay of events in Cavell’s personal life with the dissertation that in time became his first book, Must We Mean What We Say?. Randall co

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26

Klocko, David G. "Multicultural Music in the College Curriculum." Music Educators Journal 75, no. 5 (1989): 38–41. http://dx.doi.org/10.2307/3398091.

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27

Deal, John J., and Jack A. Taylor. "Technology Standards for College Music Degrees." Music Educators Journal 84, no. 1 (1997): 17–23. http://dx.doi.org/10.2307/3399081.

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28

Geerdes, Harold P. "Planning school and college music facilities." Journal of the Acoustical Society of America 85, S1 (1989): S100. http://dx.doi.org/10.1121/1.2026602.

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29

Corvet, Luc, John Bischoff, Chris Brown, Tom Erbe, Maggi Payne, and Alvin Curran. "Music from the Center for Contemporary Music at Mills College." Computer Music Journal 20, no. 2 (1996): 128. http://dx.doi.org/10.2307/3681341.

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30

An, So Yoon and Kim, Eun Jew. "A Survey of College Music Students' Perceptions of Music Therapy." Korean Journal of Music Therapy 20, no. 2 (2018): 101–25. http://dx.doi.org/10.21330/kjmt.2018.20.2.101.

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31

Davis, Virginia Wayman, and Donna Hewitt. "College music administrators’ opinions of curricular initiatives in popular music." Journal of Popular Music Education 00, no. 00 (2022): 1–18. http://dx.doi.org/10.1386/jpme_00069_1.

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This study examined college music administrators’ attitudes towards popular music in tertiary settings. Participants (N = 92) completed a Likert-type scale survey that solicited administrators’ overall attitude towards popular music education, coursework and degree plans. Additionally, data were collected through written comments regarding challenges to implementing curricular changes. Descriptive data revealed that administrators’ overall attitudes towards popular music and its inclusion in higher education settings are mostly positive. Participants’ responses to open-ended questions revealed

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32

Meng, Meng. "The Integration of Multicultural Music Education in College Music Teaching." Advances in Higher Education 3, no. 4 (2019): 40. http://dx.doi.org/10.18686/ahe.v3i4.1527.

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<p>In recent years, under the background of globalization, multiculturalism achieve further development, the culture concept is based on the multi-ethnic culture and cultural co-existence , to achieve the integration of different kinds of cultures in a harmonious social role. However, there are still many problems in the implementation of multiculturalism in education. Our country is a multi-ethnic country, college education process needs to take account of different ethnic backgrounds, music education is also the case, therefore, aiming at exploring college music education in multicultu

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33

Pettijohn, Terry F., Greg M. Williams, and Tiffany C. Carter. "Music for the Seasons: Seasonal Music Preferences in College Students." Current Psychology 29, no. 4 (2010): 328–45. http://dx.doi.org/10.1007/s12144-010-9092-8.

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34

Hou, Juncai. "Effective Ways for College Students’ Mental Health Education Based on Music Therapy." Journal of Healthcare Engineering 2022 (January 11, 2022): 1–5. http://dx.doi.org/10.1155/2022/3031064.

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Music therapy plays a very important role in college students’ mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students' bad emotions and psychological problems and help college students form a sound personality. In the process of teaching in colleges and universities, it is necessary to choose teaching methods that are closer to students’ real life so as to promote the healthy development of college students’ psychology. From the relevant investigation and analysis, college students are interested in lear

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35

Zhang, Yang. "The Value of Orff's Music Teaching Method in College Music Teaching." Learning & Education 9, no. 1 (2020): 29. http://dx.doi.org/10.18282/l-e.v9i1.893.

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<p>As an innovative music teaching method, under the background of educational reform, Orff's music teaching method has increasingly attracted the attention and attention of university teachers. By applying the Orff teaching method in university music teaching, it can not only effectively promote the improvement of teaching quality, but also promote students to develop deep music exchanges and effectively cultivate students' musical literacy and innovative thinking.</p>

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36

Plumley, Nicholas. "The Winchester College Chapel Organ." Musical Times 128, no. 1738 (1987): 711. http://dx.doi.org/10.2307/964832.

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37

Li, Ming, Lingyun Yu, Yu Qin, Peng Lu, and Xiaohui Zhang. "College Student Academic Motivation and Engagement in the College English Course." Theory and Practice in Language Studies 6, no. 9 (2016): 1767. http://dx.doi.org/10.17507/tpls.0609.07.

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This research examined the relationship between student academic motivation and engagement in the college English course. Based on the current study on communicative language teaching, student academic motivation, and engagement, we hypothesized that student motivation in the English course could predict their engagement. We used the MUSIC model of academic motivation inventory (Jones, 2016b) to explore students’ course perceptions, and we added engagement items to the survey. The participants were 101 first-year college students who were enrolled in this English course. The descriptive statis

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38

Schreiber, Elliott H. "Influence of Music on College Students' Achievement." Perceptual and Motor Skills 66, no. 1 (1988): 338. http://dx.doi.org/10.2466/pms.1988.66.1.338.

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39

LIU, WEIMING. "Multicultural Infiltration Strategy in College Music Education." Convergence of Humanities, Social Science an Art’s Academy 3, no. 2 (2019): 85–96. http://dx.doi.org/10.37846/soch.3.2.85.

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40

Brinson, Barbara A. "Helping College Students Use Their Music Knowledge." Music Educators Journal 74, no. 8 (1988): 39–42. http://dx.doi.org/10.2307/3398009.

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41

Kelly, Steven N. "Marketing Your College Music Program to Students." Music Educators Journal 75, no. 3 (1988): 27–29. http://dx.doi.org/10.2307/3398072.

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42

Bernhard, H. Christian. "Burnout and the College Music Education Major." Journal of Music Teacher Education 15, no. 1 (2005): 43–51. http://dx.doi.org/10.1177/10570837050150010107.

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43

Krout, R. "Microcomputer Use in College Music Therapy Programs." Journal of Music Therapy 26, no. 2 (1989): 88–94. http://dx.doi.org/10.1093/jmt/26.2.88.

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44

Kahn, David. "Glazer music performance center at Nazareth College." Journal of the Acoustical Society of America 145, no. 3 (2019): 1738. http://dx.doi.org/10.1121/1.5101373.

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45

Kirkegaard, Joseph. "University of Cincinnati, College Conservatory of Music." Journal of the Acoustical Society of America 115, no. 5 (2004): 2478. http://dx.doi.org/10.1121/1.4782577.

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46

Li, Jing. "The Inheritance Form of Chinese Traditional Music under College Music Education System." Region - Educational Research and Reviews 1, no. 2 (2020): 6. http://dx.doi.org/10.32629/rerr.v1i2.69.

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In colleges and universities music education system, strengthen the inherit and carry forward the Chinese traditional music, from the point of view of the school, are beneficial to improve college music education quality and effectiveness, to help colleges and universities music education better and the combination of Chinese traditional music teaching, also help colleges and universities music education to fully absorb the cultural charm of Chinese traditional music and national music elements, enrich the college music education content and education resources, and further promote the college

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47

Xu, Xiujun. "Influence of Music Intervention on Emotional Control and Mental Health Management Self-efficacy of College Students." International Journal of Emerging Technologies in Learning (iJET) 16, no. 20 (2021): 134. http://dx.doi.org/10.3991/ijet.v16i20.26511.

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Music can induce strong emotions and psychological changes. The emotional control and mental health management of college students are greatly affected by gender, family background, grade, and other factors. Through music intervention, this paper explores how music-induced emotions influence the emotional control and mental health management self-efficacy of college students. The results show that positive music promotes the control of positive emotions, as positive music can give full play to active emotions; negative music both controls and enhances the negative emotions of college students;

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48

Borja, Karla, Suzanne Dieringer, and Jesse Daw. "The effect of music streaming services on music piracy among college students." Computers in Human Behavior 45 (April 2015): 69–76. http://dx.doi.org/10.1016/j.chb.2014.11.088.

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49

Wenqin, Li. "Analysis of the Effectiveness of Music Therapy on Mental Health of College Students." Journal of Healthcare Engineering 2022 (January 25, 2022): 1–5. http://dx.doi.org/10.1155/2022/7288788.

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Music therapy is a relatively mature marginal subject at present, and it is also a relatively common treatment method. This kind of treatment can better help college students get rid of bad psychology and guide their psychology to develop in a healthy direction. Mental health is one of the important indicators to measure the comprehensiveness of human quality and plays an important role in the sustainable development of human beings. Music therapy plays a very important role in college students’ mental health education. As a marginal subject, music therapy combines music, medicine, and psychol

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50

Cong, Lili. "Analysis on the Application of Internet Multimedia Technology in College Music Education." Advances in Multimedia 2022 (May 12, 2022): 1–11. http://dx.doi.org/10.1155/2022/5732384.

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In order to improve the effect of college music teaching, this paper combines Internet multimedia technology to construct a college music intelligent teaching system and uses the DASH multihypothesis framework to improve the transmission effect of Internet multimedia. Moreover, this paper manages the teaching resources generated in the process of music teaching and collects these resources into the library. The dynamic addition and editing of classifications are realized in the background, which is convenient for easy expansion and flexible adjustment of classifications. In addition, this pape

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