Bibliographies thématiques / Passion music Analysis, appreciation

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Littérature scientifique sur le sujet « Passion music Analysis, appreciation »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 12 février 2022

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Articles de revues sur le sujet "Passion music Analysis, appreciation"

Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.

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Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.

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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.

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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning thei

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Cho, Sung-gi, and YeoJin Hwang. "Status Analysis of Music Appreciation Education in the Secondary School." Korean Society of Music Education Technology 33 (October 16, 2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.

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Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (July 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.

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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to

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Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.

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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. Th

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Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith, and David M. Baguley. "The Impact of Single-Sided Deafness upon Music Appreciation." Journal of the American Academy of Audiology 28, no. 05 (May 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.

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Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation fo

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Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.

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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ r

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Lv, Yang. "Influence of cognitive neural mechanism on music appreciation and learning." Translational Neuroscience 10, no. 1 (April 23, 2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.

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AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influen

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Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.

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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design.

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Thèses sur le sujet "Passion music Analysis, appreciation"

李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.

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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this

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Hughes, John Charles. "Leonhard Lechner's Passion (1593): cultural contexts, musical analysis, and historical implications." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1469.

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The Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi (1593) by Leonhard Lechner (c. 1553-1606) is frequently cited as an important work in the development of the Passion idiom. Given the work's notoriety, it is therefore odd that little substantive analysis of the piece exists. Aside from some scholars' cursory comments about the piece, only James Morgan Sides's dissertation has discussed the work at length. Sides's findings give a somewhat limited picture of Lechner's Passion because he primarily focuses on technical aspects of Lechner's musical language.

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Wong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.

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Chan, Chor-shan Sharon, and 陳楚珊. "Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.

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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the text was then translated into Latin. Le speaker speaking in the audience’s native language with a detached voice is added to the opera-oratorio to narrate the events of the story throughout. With its mixed genres, the juxtaposition of the dead language and the vernacular, the contrast of the spoken word and the music performance, and the intertexual references in the music, a strong dialectical tension is created. This study is

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Johnson, Stephen. "Hecate nocturne : for large orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.

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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.<br>The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" thro

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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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Von, Holtzendorff Peter. "A parametric integration model for the analysis of late Baroque music : a tentative approach." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.

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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, a

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Wolf, Motje. "The appreciation of electroacoustic music : an empirical study with inexperienced listeners." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.

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The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was

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Livres sur le sujet "Passion music Analysis, appreciation"

Die Matthäus-Passion von Johann Sebastian Bach: Entstehung, Werkbeschreibung, Rezeption. München: Deutscher Taschenbuch Verlag, 1991.

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"Die sieben Worte am Kreuz" bei Schütz und Haydn: Vorgetragen am 13. Januar 1984. München: Verlag der Bayerischen Akademie der Wissenschaften, 1986.

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Scholz, Gottfried. Bachs Passionen: Ein musikalischer Werkführer. München: C.H. Beck, 2000.

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Jena, Günter. "Das gehet meiner Seele nah": Die Matthäuspassion von Johann Sebastian Bach. Freiburg i. Br: Herder, 1999.

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Bach's St. Matthew Passion: A closer look. New York: Continuum, 2008.

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Rallo, Elisabeth. Opéras, passions. Paris: Presses universitaires de France, 2001.

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Rallo, Elisabeth. Opéras, passions. Paris: Presses universitaires de France, 2001.

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Geck, Martin. Johann Sebastian Bach: Mit Selbstzeugnissen und Bilddokumenten. Reinbek bei Hamburg: Rowohlt, 1993.

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Geck, Martin. Johann Sebastian Bach: Johannespassion : BWV 245. München: W. Fink, 1991.

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Geck, Martin. Bach: Leben und Werk. Reinbek: Rowohlt, 2000.

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Chapitres de livres sur le sujet "Passion music Analysis, appreciation"

Palma-Martos, María Luisa, Manuel Cuadrado-García, and Juan D. Montoro-Pons. "Breaking the Gender Gap in Rap/Hip-Hop Consumption." In Music as Intangible Cultural Heritage, 51–65. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-76882-9_5.

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AbstractSome music genres have traditionally and mainly been consumed by men. This is the case of rap/hip-hop. However, data on the consumption of this genre in recent years shows a relevant increase in the number of women interested in this type of music. It would therefore seem to be pertinent to analyse this new trend, not only as a question linked to gender studies but also to marketing decision-making for the music industry, which is struggling to attract new audiences, a factor compounded in the pandemic. To frame this analysis, literature on music consumption, specifically in relation to gender and rap as an alternative music genre, has been reviewed from different approaches. An exploratory survey was conducted to obtain an insight into rap/hip-hop consumption and appreciation by gender. Results show that rap concert attendees’ satisfaction and interest in this kind of music are high, irrespective of gender. Only knowledge, which has not been as extensively studied, seems to be different between men and women, with this factor being slightly higher for the former. In addition, the identification of three clusters (involved, apathetic and hedonists), including both women and men, leads us to suggest that the gender gap in rap/hip-hop consumption is closing.

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Cassidy Parker, Elizabeth. "Interlude." In Adolescents on Music, 173–74. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0021.

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In my life music has been a source of enjoyment, an expression of worship, an outlet for emotions, and a way to connect with others. I’ve always had a deep appreciation for music. When I was 7 or 8 years old, my dad bought me and my younger sister a guitar for Christmas. Playing short melodies on the half-size acoustic guitar I received for Christmas that year was my first experience playing an instrument. My father plays guitar, so my sisters and I grew up surrounded by music. As I continued to explore my interest in music, I realized that I had a passion for singing. I decided to take freshman choir in high school, and halfway through my freshman year, I started taking private voice and piano lessons....

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Boczkowski, Pablo J. "Entertainment." In Abundance, 125–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565742.003.0005.

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Chapter 5 focuses on the reception of entertainment. The survey reveals that the top three entertainment activities among the respondents are watching television, listening to music, and being on social media, in that order, and that age is the preeminent organizer of entertainment consumption. The interviews show the continued relevance of routines in reception practices, and highlight the versatility of watching television. This versatility applies to how people access the content; the devices through which they watch it; with whom they do this; and the habits associated with this experience. This versatility contrasts with the perceived rigidity of going to the movies, watching a play, and visiting a museum. The affect related to consuming audiovisual entertainment within the household is overwhelmingly positive, and there is a high level of attachment to serialized content on streaming platforms. The analysis shows an experiential appreciation of audiovisual entertainment content on television.

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Leong, Daphne. "Reception and Structure." In Performing Knowledge, 332–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0011.

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This chapter discusses the results of an experiment testing audience response to Robert Morris’s Clear Sounds among Hills and Waters (1989, revised 2013), for solo piano, under five different preparatory conditions: simple identification (ID), program note (PN), aesthetic/visual introduction by the composer on video (AES), structural/aural introduction by the composer on video (STR), and the combination of all of the preceding (CMB). Qualitative analysis of responses suggested that preparations ID, STR, PN, AES, and CMB, in that order, were increasingly beneficial for audience appreciation and understanding. The piece’s context and meaning needed to be explained before structural information could be employed effectively. The combination of aesthetic with structural information was more helpful than either alone. Indirect knowledge about the piece must translate into direct knowledge for greater impact. The chapter then explores broader issues implicated in audience reception of new music: characteristics of the listener, social and cultural factors, and features of the musical language, described by analogy to phonetics, morphology, syntax, and semantics. Stimuli for the experiment, including Leong’s performance of Clear Sounds on video, may be found online.

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Hobbs, Renee, Liz Deslauriers, and Pam Steager. "Creating." In The Library Screen Scene, 67–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190854317.003.0003.

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Authorship is a fundamental impulse that’s rooted in the value of “telling your own story.” When people engage in practices of creating media, they deepen their understanding of the constructed nature of all forms of media and can shift their identity in important ways. As people gain confidence in self-expression and recognize the value and power of using communication to address community and national social and cultural issues, they take on the role of active citizens in a democratic society. The library has always been a source of inspiration for people who want to make things as well as a community hub where people can come to learn, create, and explore possibilities. Makerspaces and media centers can support the mission of the library. Many academic librarians have made a deep commitment to supporting student media creation as a dimension of their academic work. And whether it’s to explain library services, document a community event or history, or market the library, when school librarians are themselves digital authors, they often have a broader, deeper appreciation of the creative process and recognize the potentially transformative impact that such learning experiences can have. Creating media can be important for advancing self-expression and learning, but it is also a time-honored way to deepen media analysis skills. Getting the balance between creative freedom and creative restraint in media production can be challenging, but from creating storyboards, book trailers, or parody music videos to documentary filmmaking, creating media in the library can reap multiple benefits and can prove that it’s through creating and collaborating that people of all ages learn best.

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Actes de conférences sur le sujet "Passion music Analysis, appreciation"

Kakegawa, Mayu, Ryo Komiyama, Yuko Masakura, and Masayuki Kikuchi. "Analysis of music appreciation by Kansei evaluation and brain activity." In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505407.

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