Bibliografías temáticas / Music programmers

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  1. Artículos de revistas
  2. Tesis
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Literatura académica sobre el tema "Music programmers"

Autor: Grafiati
Publicado: 1 de junio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Music programmers"

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Temkin, Daniel. "Entropy and FatFinger: Challenging the Compulsiveness of Code with Programmatic Anti-Styles." Leonardo 51, no. 4 (2018): 405–12. http://dx.doi.org/10.1162/leon_a_01651.

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Coding, the translating of human intent into logical steps, reinforces a compulsive way of thinking, as described in Joseph Weitzenbaum’s “Science and the Compulsive Programmer” (1976). Two projects by the author, Entropy (2010) and FatFinger (2017), challenge this by encouraging gestural approaches to code. In the Entropy programming language, data becomes slightly more approximate each time it is used, drifting from its original values, forcing programmers to be less precise. FatFinger, a Javascript dialect, allows the programmer to misspell code and interprets it as the closest runnable var
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Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.

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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers,
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Wang, Ge, Perry R. Cook, and Spencer Salazar. "ChucK: A Strongly Timed Computer Music Language." Computer Music Journal 39, no. 4 (2015): 10–29. http://dx.doi.org/10.1162/comj_a_00324.

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ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use
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Szepanski, Achim. "A Mille Plateaux manifesto." Organised Sound 6, no. 3 (2001): 225–28. http://dx.doi.org/10.1017/s1355771801003089.

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The label Mille Plateaux focuses on concepts like virtuality, noise, machinism and digitality. In the most simple case, digital music simulates something that does not exist as a reality; it generates something new. It is the result of the teamwork of numerous authorities such as the 'musician', the programmer and the authority of the software program. Today, computer digital music can be seen as screen-based music, i.e. sounds become visible and images audible, but one can often forget that there is no mutual correspondence; and that this is simply a mechanism whereby a given program secretly
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Rubinstein, Yair. "Uneasy Listening." Resonance 1, no. 1 (2020): 77–93. http://dx.doi.org/10.1525/res.2020.1.1.77.

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This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock
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Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists
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Tarasau, Herman, and Ananga Thapaliya. "Influence of listening to music on emotional state of programmers: Preliminary study." Journal of Physics: Conference Series 1694 (December 2020): 012013. http://dx.doi.org/10.1088/1742-6596/1694/1/012013.

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Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.

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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where
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Bonini, Tiziano, and Alessandro Gandini. "“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation." Social Media + Society 5, no. 4 (2019): 205630511988000. http://dx.doi.org/10.1177/2056305119880006.

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This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by huma
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Li, Wenhao, Zhengmo Ma, and Zijian Zou. "Synthetic Music Random Generation Based on Nyquist." Highlights in Science, Engineering and Technology 85 (March 13, 2024): 591–96. http://dx.doi.org/10.54097/750ga766.

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The idea of composing music based on programs has a long history, from some pioneers who first tried to fulfill this idea, to now, the variety of software and workshops that allow people to generate music in different approaches. On this basis, this study will briefly discuss the main idea and some methods used to compose the music in this paper. We aimed to randomly generate a piece of music using only Nyquist. Thus, each time when listen to this, there is a slight difference. With this in mind, this paper has used two ways: the first one is to use several functions in Nyquist, which would ra
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Tesis sobre el tema "Music programmers"

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Vickers, Paul. "CAITLIN : implementation of a musical program auralisation system to study the effects on debugging tasks as performed by novice Pascal programmers." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/10560.

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In recent years, researchers have begun to focus on the communication of information using sound. This auditory display research community now has its own community and international conference (the International Conference on Auditory Display). Auditory Display embraces many interesting avenues of enquiry, one of which, program auralisation is the topic of this thesis. This thesis describes how the technique of program auralisation (the mapping of computer program data and events to sound) was applied within a musical framework and .context in the development of a musical program auralisation
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Kochenderfer, Mary Anne. "Music after war : therapeutic music programmes in Bosnia and Herzegovina." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1956.

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This thesis is a study of therapeutic music programmes in post-war Bosnia and Herzegovina. This study focuses on how different participant groups perceive programme aims and benefits and what these different perceptions reveal about the programmes as well as ways in which the local context impacts the programmes. Analysis is based on data gathered through interviews, observation, participant observation, and questionnaires obtained during five fieldwork visits undertaken between November 2003 and November 2004. While all participant groups agree that the programmes are beneficial, there are im
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Bertilsson, Kajsa. "Elever och motivation : En studie om vad som driver elever på estetiska programmet till att spela musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79899.

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Reynisson, Haukur. "Man vs. Machine : A comparative study on MIDI programmed and recorded drums." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43782.

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Whilst drum replacement, the act of replacing the sound of a particular drum with a pre-recorded sample, has been in practice since the 1970s it is only towards the end of the first decade of the 21st century that software drum machines such as Toontrack’s Superior Drummer 2.0 and Steven Slate Drums have become an popular alternative to actual drum recordings within music production. With the increasing popularity there have been voices from the music community in protest claiming that a machine could never replace an actual drummer. What I aimed to do in this project was to do a comparative s
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Sikborn, Erixon Sanna. "Kunskapskrav och läromedel : om förutsättningarna för kvalitativt likvärdig undervisning i gitarr på estetiska programmet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1749.

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Sjöqvist, Carl. "Att välja gymnasium : en kvantitiv studie inför val till estetiska programmnet inriktning musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69861.

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Syftet med denna kvantitativa studie är att få veta mer om varför elever i val av gymnasieprogram väljer bort estetiska programmet musik. De samband som finns mellan betyg och gymnasieval och andra samband undersöks för att få insyn i detta område med utgångspunkt i elevernas åsikter genom enkät. I tidigare forskning är främst fokus på elevers gymnasieval, framtidsdrömmar och musikalisk identitet. Det finns också ett kapitel om musikutbildningens historia. Vidare presenteras i metodkapitlet hur enkäten formats, etiska frågor och genomförande. Studien resulterade i slutsatser om att de som var
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Klint, Ludvig. "Polypop : Polyrytmik i modern populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2818.

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I detta självständiga arbete undersöks hur polyrytmik kan användas i en populärmusikalisk kontext. Syftet med den här studien är att undersöka hur polyrytmik kan användas som grund för att skapa poplåtar. I inledningen presenteras ett antal exempel på hur polyrytmik förekommer i olika genrer. Metal och Jazz tas upp som exempel på musikaliskt avancerade genrer där polyrytmik är vanligt förekommande. Vidare problematiseras hur polyrytmen 4:3 fått ett stort genomslag i populärmusiken, medan andra polyrytmer ignoreras. I metodavsnittet redogörs för hur samplingar och programme
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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Pascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.

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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fu
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Birgestrand, Jönsson Matilda. "Ska vi starta från codan? : En kvalitativ studie om gehörs- och musiklära inom enskild instrumentalundervisning." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69624.

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I studien undersöks de inslag av gehörs- och musiklära som förekommer inom enskild instrumentalundervisning på gymnasiet. Studien baseras på videoobservationer i fyra instrumentlärares klassrum med deras respektive elever. Det är en ordinarie lektion som observerats där gehörs- och musikteoretisk kommunikation studerats. I resultatet redogörs ett förvånansvärt högt användande av gehörs- och musikteoretiska inslag i undervisningen. Lärare och elever kommunicerar med varandra genom ett gemensamt musikaliskt språk. Resultatet redogör även lärarnas förmåga att i stor utsträckning kombinera olika k
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Libros sobre el tema "Music programmers"

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Mitten, Christopher. Shawn Fanning: Napster and the music revolution. Twenty-First Century Books, 2002.

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Ottman, Robert W. Programmed rudiments of music. 2nd ed. Prentice Hall, 1994.

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Great Britain. Department of Education for Northern Ireland. Music: Programmes of study and attainment targets. Department of Education for Northern Ireland, 1992.

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E.B.U. Workshop for Producers and Directors of Children's Programmes (12th 1990 Oslo, Norway). Sound effects and music in children's programmes. Edited by Gautier Yves and European Broadcasting Union. European Broadcasting Union, 1990.

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Dorr, Joyce. Introductory music theory. Wadsworth Pub. Co., 1995.

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Steinke, Greg A. Harmonic materials in tonal music: A programed course. Pearson Education, 2010.

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National Radio Institute (Washington, D.C.), ed. Electronic music technology. McGraw-Hill Continuing Education Center, 1988.

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Harder, Paul O. Harmonic materials in tonal music: A programed course. 6th ed. Allyn and Bacon, 1990.

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1942-, Steinke Greg A., ed. Harmonic materials in tonal music: A programed course. 7th ed. Allyn and Bacon, 1994.

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Academy of Music (Saint John, N.B.), ed. Academy of Music, Monday ev'g, Mar. 17th: Grand literary & musical entertainment by the Irish Friendly Society. s.n.,$18--?], 1986.

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Capítulos de libros sobre el tema "Music programmers"

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Miranda, Eduardo Reck. "Music Fundamentals for Computer Programmers: Representation, Parametrization and Automation." In Quantum Computer Music. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13909-3_2.

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Antcliffe, Herbert. "The True Programme Music." In Short Studies in the Nature of Music. Routledge, 2025. https://doi.org/10.4324/9781003629207-2.

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Aróstegui, José Luis. "Evaluating Music Teacher Education Programmes." In Educating Music Teachers for the 21st Century. SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1_1.

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Laucirica, Ana. "Evaluating Music Teacher Education Programmes." In Educating Music Teachers for the 21st Century. SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1_4.

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Rodríguez-Sánchez, Andrea, and Gloria Zapata-Restrepo. "Expedición Sensorial programme." In Music and Social Inclusion. Routledge, 2022. http://dx.doi.org/10.4324/9781003188667-18.

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Westerby, Herbert. "Characteristic, Impressionist and Programme Music." In The History of Pianoforte Music. Routledge, 2024. http://dx.doi.org/10.4324/9781003559986-28.

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Bäuml, Katharina. "»Meine Programme sollen Geschichten erzählen.«." In Alte Musik heute. Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-66600-5_32.

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de Oliveira Pinto, Tiago. "Music as Heritage." In Heritage Studies. Springer Nature Switzerland, 2024. https://doi.org/10.1007/978-3-031-72123-6_21.

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AbstractSeeing music as a cultural heritage within the UNESCO Conventions on World Heritage (1972) and on Intangible Cultural Heritage (2003) has been a challenge for the understanding of both the musicological approach to music within this framework and the concept of ICH as such. While the material properties of music (musical scores etc.), do not fall under the World Heritage concept, but are rather elements of the Memory of the World (MoW) Programme (documents and archives), the research on music as ICH has revealed that at least 60% of the inscribed elements in the UNESCO Representative L
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Mehl, Margaret. "11. The World in Sendai." In Music and the Making of Modern Japan. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.11.

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Chapter 11, ‘The World in Sendai’ investigates the types of ‘Western music’ that were actually performed in concerts in Sendai. This is the main theme of. Based on the programmes of local concerts between 1907 and 1921 published in the magazine Ongakukai (World of music), this chapter shows how local concerts, in which different groups came together to perform an eclectic repertoire to a mixed audience, helped transform the people of Sendai into members of a nation within a wider world of nations. The modern institution of the public concert represented a space where Japanese and foreigners me
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Creech, Andrea, Maria Varvarigou, and Susan Hallam. "Supporting Musical Possible Selves in Programmes With Social Aims." In Contexts for Music Learning and Participation. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48262-6_8.

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Actas de conferencias sobre el tema "Music programmers"

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Ayres, José Eduardo, Pedro Arthur, Vitor Rolla, and Luiz Velho. "Procedural Music in Games." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10462.

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This workshop will bring to the audience an introduction to the Chuck audio programming language, to the Unity game engine within a hands-on experience how one can use such technologies to achieve a new level of immersion through procedural generated sounds responding to game events and visual effects. The workshop is intended to a broad audience ranging from programmers to ones with little to no knowledge in the field.
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Krug, Douglas Lusa, Reuel J. Kulibaba, Denis A. Linzmeyer, Chrystalla Mouza, and David C. Shepherd. "Inspiring Interest in Computing using Music: A Case Study on Students Lacking Prior Music Education." In Simpósio Brasileiro de Informática na Educação. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/sbie.2023.233821.

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Broadening interest in computer science is a major research goal of the 21st century. Many initiatives use traditional “hooks” to attract students, such as video games and robotics. Unfortunately, this tends to attract only those already interested in computer science. One alternative domain gaining momentum in computer science education research is music, which is showing interesting results with participants that have previous music knowledge. This paper presents a case study of teaching computer programming with music, in Brazil, to students with limited formal music experience. Through dat
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Burlet, Gregory, and Abram Hindle. "An Empirical Study of End-User Programmers in the Computer Music Community." In 2015 IEEE/ACM 12th Working Conference on Mining Software Repositories (MSR). IEEE, 2015. http://dx.doi.org/10.1109/msr.2015.34.

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Du Bois, Andre, and Rodrigo Ribeiro. "Combining Effects in a Music Programming Language based on Patterns." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10430.

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HMusic is a domain specific language based on music patterns that can be used to write music and live coding. The main abstractions provided by the language are patterns and tracks. Code written in HMusic looks like patterns and multi-tracks available in music sequencers, drum machines and DAWs. HMusic provides primitives to design and combine patterns generating new patterns. The objective of this paper is to extend the original design of HMusic to allow effects on tracks. We describe new abstractions to add effects on individual tracks and in groups of tracks, and how they influence the comb
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Ivaniukovich, U. A., and A. S. Tsikhonchyk. "ORGANIZATION OF MUSIC THERAPY SESSIONS ON THE BASIS OF STREAMING DATA TRANSMISSION TECHNOLOGIES." In SAKHAROV READINGS 2022: ENVIRONMENTAL PROBLEMS OF THE XXI CENTURY. International Sakharov Environmental Institute of Belarusian State University, 2022. http://dx.doi.org/10.46646/sakh-2022-2-413-416.

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A streaming web service is proposed for organizing music therapy sessions based on cloud storage technologies to improve the mental and physical condition of patients. The service allows selecting musical compositions selected by experts for various situations, or creating individual playlists based on the needs and preferences of the user. The created software application includes a web version, as well as applications for Android and iOS mobile operating systems. For the iOS platform, the Swift language and the Docker and Kitura frameworks are used. For the Android platform, the Java languag
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Akkermann, Miriam. "(Musik)instrument (im) Computer." 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/10.25366/2020.102.

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The use of the computer as a sound generator is omnipresent in current music production and ranges from music notation programs playing back samples via MIDI control to specially programmed sound synthesis programs. The term ‚computer‘ is generally understood as a complete set of hardware and software. But a closer look at this complete set is definitely worthwhile and poses some systematical challenges. In the early days of digital sound synthesis in real time, the hardware is strongly connected to the resulting sound. The control was done by means of a programming language or a specially des
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Nikolajević, Snežana. "Dragutin Gostuški’s Television Narrative." In Iskošeni ugao Dragutina Gostuškog. Muzikološki institut SANU Beograd, 2024. https://doi.org/10.46793/dgost23.303n.

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The selection of music combined with the text about music is very important for the effect on the viewer of the television music programs. The interaction between music and text turns into an action towards the viewer, and that action is, in fact, the essence of the television medium. The words about music hold great importance, almost like the music itself, and their mutual influence leads to a new quality – to a new television music form. To achieve the most suitable effect and the highest range from that combination requires great erudition, skilful use of various elements and their connect
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Goldbach, Dumitru, Iuliana Cetina, and Natalia Manea. "ACADEMIKA- ONLINE LEARNING PLATFORM." In eLSE 2018. ADL Romania, 2018. http://dx.doi.org/10.12753/2066-026x-18-057.

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Worldwide, online learning has reached a significant degree of development. Unfortunately, in Romania this modern way of training is at the beginning, despite the fact that we have a top IT industry, high internet speed and a significant percentage of internet users. In the last few years, several steps have been taken to develop online learning by creating several more important platforms, including www.academika.ro. Even if it is not very used, the platform can compete with any global platform due to its potential and architecture. The mission of the online learning platform Academika is to
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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 compos
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Özgen, Zafer. "A Sonic Ecology: Nature, Sound, and Environmental Aesthetics in John Luther Adams’s Become Trilogy." In Ninth International Conference on Music and Minimalism. Institute of Musicology SASA, 2024. https://doi.org/10.46793/mininters.015o.

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John Luther Adams’s Become trilogy – comprising Become River, Become Ocean, and Become Desert – offers a profound meditation on the relationship between humanity and nature. Commissioned by prominent American orchestras, including the Seattle Symphony, New York Philharmonic, and St Paul Chamber Orchestra, these works transcend conventional categories such as minimalism, programme music, and experimental music, inviting listeners into immersive sonic environments. With ecological crises as an underlying theme, the trilogy engages audiences on both aesthetic and philosophical levels. Although Ad
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Informes sobre el tema "Music programmers"

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Dairianathan, Eugene, Larry Francis Hilarian, Peter Stead, Chee Hoo Lum, and Hoon Hong Ng. Learning through popular music, lessons for the general music programme syllabus in Singapore. National Institute of Education, Nanyang Technological University, Singapore, 2024. https://doi.org/10.32658/10497/27422.

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This project sought to investigate the identity, role and function of popular music within classroom-based education in Singapore. Popular music is characterised by: (i) lnterdisclplinarity (music, dance, poetry, theatre, etc); (ii) It suffuses the lives of school-going youth in their out-of-school curriculum. (iii) Skill acquisition is frequently gained through more informal learning than is usual in institutional settings (Green, 2002). (iv) Participation in popular music by various communities seems to cut across ethnic, religious and age boundaries, which makes popular music participation
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Raychev, Nikolay. Can human thoughts be encoded, decoded and manipulated to achieve symbiosis of the brain and the machine. Web of Open Science, 2020. http://dx.doi.org/10.37686/nsrl.v1i2.76.

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This article discusses the current state of neurointerface technologies, not limited to deep electrode approaches. There are new heuristic ideas for creating a fast and broadband channel from the brain to artificial intelligence. One of the ideas is not to decipher the natural codes of nerve cells, but to create conditions for the development of a new language for communication between the human brain and artificial intelligence tools. Theoretically, this is possible if the brain "feels" that by changing the activity of nerve cells that communicate with the computer, it is possible to "achieve
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Taela, Kátia, Taela, Kátia, Euclides Gonçalves, Catija Maivasse, and Anésio Manhiça. Shaping Social Change with Music in Maputo, Mozambique. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/ids.2021.020.

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In Mozambique, development programmes have traditionally drawn on music as a means to promote social transformation by educating citizens on key social development issues. Shifting the focus from music as a teaching medium to music as a rich source of information can provide vital insights into public opinion and political ideas, and significantly impact the development of citizen engagement projects. Maximum gains for development and civil society agencies can be achieved by mainstreaming gender into mutual learning activities between singers, audiences, and academics.
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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of st
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