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Littérature scientifique sur le sujet « Sound-based music »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 18 février 2022

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Articles de revues sur le sujet "Sound-based music"

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Miranda, Eduardo Reck. « From symbols to sound : AI-based investigation of sound synthesis ». Contemporary Music Review 10, no 2 (janvier 1994) : 211–32. http://dx.doi.org/10.1080/07494469400640441.

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Rehding, Alexander. « Music Theory's Other Nature : Reflections on Gaia, Humans, and Music in the Anthropocene ». 19th-Century Music 45, no 1 (2021) : 7–22. http://dx.doi.org/10.1525/ncm.2021.45.1.7.

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The new historical paradigm ushered in by the Anthropocene offers a timely and urgent opportunity to rethink the relationship of humans and nature. Bruno Latour's take on the Gaia hypothesis, which rejects the traditional subject/object divide, shows how the human can be inscribed into the work of music theory. This turn toward Latour's Actor-Network Theory, which erases the categorical difference between human and nonhuman agents, now dressed up in cosmic garb under the banner of the Gaia hypothesis, appears to be distant from traditional music-theoretical concerns, but the connection is in fact less far-fetched than it seems. J. G. Kastner's music theory, taking its cue from the sound of the Aeolian harp, serves as a test case here: the Aeolian harp, played by wind directly, had long served as a Romantic image of the superhuman forces of nature, but Kastner argues that the Aeolian network only becomes complete in human ears. By unraveling the various instances and agencies of Kastner's theory, this article charts a novel approach to music and sound that sidesteps the conceptual problems in which the nineteenth-century mainstream habitually gets entangled. Kastner's work is based on a fundamental crisis in the conception of sound, after the invention of the mechanical siren (1819) tore down any certainties about the categorical distinction between noise and musical sound. Seeking to rebuild the understanding of sound from the ground up, Kastner leaves no stone unturned, from the obsolete Pythagorean tradition of musica mundana to travelers’ reports about curious sonic environmental phenomena from distant parts of the world. Where the old mechanistic paradigm was built on a “physical music” (and a static “sound of nature” based on the harmonic series), Kastner proposes a new “chemical music” that is based on the dynamic, ever-changing sonority of the Aeolian harp. This chemical music does not (yet) exist, but Kastner gives us some clues about its features, especially in his transcription/simulation of the sound of the Aeolian harp scored for double symphony orchestra. Kastner's “chemical music” finally closes the music-theoretical network that he builds around his new conception of the supernatural sound of the Aeolian harp and its human and nonhuman agents.
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Djalilian, Hamid R., Kasra Ziai et John McGuire. « Customized Web-Based Sound/Music Therapy for Tinnitus ». Otolaryngology–Head and Neck Surgery 145, no 2_suppl (août 2011) : P91. http://dx.doi.org/10.1177/0194599811416318a158.

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Titon, Jeff Todd. « Exhibiting Music in a Sound Community ». Ethnologies 37, no 1 (3 mai 2017) : 23–41. http://dx.doi.org/10.7202/1039654ar.

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Exhibiting music in a sound community announces the presence and potential of an ecological rationality. Two or more beings co-present to each other in sound resonate at the same frequency with one another and comprise a sound community. Co-presence in sound is intersubjective and relational, a subject-to-subject resonant and reciprocal way of knowing, rather than a subject-to-object, asymmetrical and manipulative knowledge. In a sound community music is communicative, as natural as breathing, participatory and exchanged freely, strengthening and sustaining individuals and communities. A sound community exhibits a sound economy, just, participatory and egalitarian. Wealth and power are widely distributed and shared, and maintained through the visible hand of democratic management. A sound economy is based in a sound ecology where exchanges are based in honest signals that invite reciprocity and trust. In a sound ecology, sound being and sound knowing lead to sound action, which is cooperative, mutually beneficial, and just.
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Thumlert, Kurt, Daniel Harley et Jason Nolan. « Sound Beginnings : Learning, Communicating, and Making Sense with Sound ». Music Educators Journal 107, no 2 (décembre 2020) : 66–69. http://dx.doi.org/10.1177/0027432120952081.

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The ongoing work by educators responding to calls for equity, diversity, and inclusion in music education shows the breadth of difficult work that has been accomplished as well as the challenging work that lies ahead. Our work explores efforts to rethink music education—for all—from the ground up, which requires disrupting many of the norms through which music education has been conventionally understood. In this article, we bring together lessons learned to offer five recommendations for music pedagogy and sound-based inquiry that support a more inclusive understanding of music—one that situates aural/sound/music learning experiences as actively critical and collaborative practices. We suggest that by developing a contextualized, community-based, learner-oriented model, we might be better equipped to create opportunities for all learners.
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Papagiannopoulou, Eleni A. « Auditory Processing in ASD & ; Sound-Based Interventions ». Music Perception 32, no 5 (1 juin 2015) : 515–29. http://dx.doi.org/10.1525/mp.2015.32.5.515.

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The increasing prevalence of autism spectrum disorders (ASD) and limitations in existing treatment options have led parents to seek out treatments such as sound-based training programs. Recent studies have sought to integrate neuroimaging techniques with sound-based interventions in ASD. Given the increasing popularity of these interventions and the paucity of existing research into sound-based therapies, there is significant interest in elucidating the mechanisms by which these therapies impact atypical auditory processing, as well as in the design and refinement of intervention techniques. This paper aims to review the extant literature addressing atypical auditory processing within the ASD population andcurrent sound-based interventions in the context of behavioral, neuroimaging, and neurophysiological domains. The evidence for its effectiveness as an early intervention tool in the treatment of ASD is discussed and suggestions for future directions are offered.
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Kim, Donglim, Bin Lim et Younghwan Lim. « Music Emotion Control Algorithm based on Sound Emotion Tree ». Journal of the Korea Contents Association 15, no 3 (28 mars 2015) : 21–31. http://dx.doi.org/10.5392/jkca.2015.15.03.021.

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Humphrey, Thomas. « Sound through music : Exhibit‐based teaching at the Exploratorium ». Journal of the Acoustical Society of America 80, S1 (décembre 1986) : S71. http://dx.doi.org/10.1121/1.2023934.

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Aczél, Kristóf, et István Vajk. « Note-Based Sound Source Separation in Monoaural Polyphonic Music ». Acta Acustica united with Acustica 96, no 5 (1 septembre 2010) : 947–58. http://dx.doi.org/10.3813/aaa.918353.

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Liang, Ping, Hongyu Guan, Yuezhen Wang, Han Chen, Pengfei Song, Haonan Ma et Songtao Hu. « The Effect of Music Tempo and Volume on Acoustic Perceptions under the Noise Environment ». Sustainability 13, no 7 (6 avril 2021) : 4055. http://dx.doi.org/10.3390/su13074055.

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This study aimed to investigate the distracting or masking effects of music tempo and volume, based on subjective evaluation under noise conditions. Two experiments were conducted with 32 participants. In the first one, the experimental conditions were set as follow: (1) the sound pressure levels of music are 45 dB, 60 dB, and 75 dB; (2) music tempos are 70 beats per minute (BPM), 110 BPM, and 150 BPM; (3) sound pressure levels of noise are 45 dB, 60 dB, and 75 dB; and (4) the noise types are talkers’ babble, traffic noise, and construction noise. All conditions on human acoustic perception were analyzed by orthogonal experiment. Based on part one, the second experiment was conducted. Sound pressure levels (50 dB, 60 dB, and 70 dB) of noise and sound pressure levels (50 dB, 60 dB, and 70 dB) of music and music tempo (70 BPM, 110 BPM, and 150 BPM) were assessed by subjective evaluation. The results showed although different types of noise had different effects on human perceptions, noise types had a small effect on acoustic comfort considering the superimposed music. Music can improve the acoustic environment. The sound pressure levels had significant effects on acoustic sensation. The tempo of the music affected the acoustic sensation insignificantly. Sound pressure levels of noise, music tempo, and sound pressure levels of music significantly affect acoustic comfort. The best acoustic environment in this study utilized superimposed 70 BPM, 60 dB music in a 50 dB noise environment. These results suggest that music can enable new strategies to improve indoor environmental satisfaction. Based on the findings, the effect of music on acoustic perceptions under the noise environment should be taken into account when aiming to enhance comfort in noisy environments.
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Thèses sur le sujet "Sound-based music"

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Bernier, Nicolas. « Five object-based sound compositions ». Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/23294/.

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This text is a commentary on the nature of my principle artistic preoccupations over a period of research-creation spanning 2011 and 2013. The works discussed cover, each in their own way, various approaches to sound composition linked to physical objects. In effect, the object proves to be a fundamental element at the heart of discourse, which, though anchored in sound, is often multi-disciplinary. The object here is thus taken apart in its affective, conceptual, performative, visual, as well as sonic properties. The first part of this text illustrates the nature of the relationship between the physical object and the works submitted for this doctoral thesis. It focuses on the journey of the works: from their genesis in the artist’s collections of objects to their life on stage where the objects are used as visual elements in a performative context. The second part is dedicated to the conceptual and aesthetic content of the works, from which flow the principal elements of their discourse. Here, the relationships between the work, the concept and the sonic material are established, which together make up their aesthetic.
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Polfreman, Richard. « User-interface design for software based sound synthesis systems ». Thesis, University of Hertfordshire, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363503.

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Therapontos, Nasia. « Evolving music education in the digital age : sound-based music in public schools of Cyprus ». Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/11609.

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Years now, sound-based music has been struggling to reach a wider public. Research supports that in order to promote sound-based music, it should be introduced at an early age in someone’s life to have the opportunity to familiarise himself/herself with it and accept it (Kopiez and Lehmann, 2008). This thesis investigates the implementation of sound-based music in public schools in Cyprus. Building on previous research aiming to introduce sound-based music ideas and concepts into the music classrooms (Savage, 2005; Higgins and Jennings, 2006; Wolf, 2008; Holland, 2011), this research aims at creating a sound-based music curriculum that will be appropriate for the implementation in such a teaching-learning environment in Cyprus. The research focuses on the Educational Reform Programme of Cyprus (2008-2015), which aims at modernising the Cypriot education system. This project offers the opportunity to investigate a set of sound-based music lesson plans, implemented in music classrooms. The research examines the reactions of teachers and students towards these lessons, and the evaluation of the lesson plans in order to be suitable for primary and secondary schools of Cyprus. It is an interdisciplinary project, allowing for educational as well as musical concepts to inform its content and structure. The research follows a grounded theory methodology, utilising a mixed-methods approach involving multi-site case studies and action research. In total of six schools, with six teachers and 117 students, eight different sound-based music lesson plans were created, implemented and evaluated, in a total of 18 lesson periods. During these lessons, a combination of questionnaires, interviews, observations, visual data and tests have facilitated the collection of both qualitative and quantitative information relating to the teachers, the students and the lesson plans. Findings of this research identify that the specific set of lesson plans implemented in the schools is considered as appropriate to be used in the music classrooms of Cyprus. The sound-based music lessons introduced new ways of using ICT in the music classroom, supporting the national initiatives of the Ministry of Education and Culture of Cyprus. It was also identified that these lessons offer an inclusive education, with creative activities, engaging students with the learning experience. However, the outcomes of the research recognised the need to understand the multidimensional change necessary to take place before such an implementation, such as the need to resolve any teachers’ concerns relating to the implementation of innovative material as well as any issues related to the equipment.
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Koutsomichalis, Marinos G. « A hypermedia and project-based approach to music, sound and media art ». Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11432.

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This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are incorporated in broader hybrids that are mediated (interfaced) in miscellaneous ways to this way result in original works of art. Materials and methodologies are shown to be intertwined and interdependent with each other as well as with the different ways in which they are interfaced, which accounts for an explicitly projectbased, rather than artwork-based, approach which, on its turn, de-emphasises the finished artefact in favour of process, performance, research and exploration. Projects are, then, shown to be explicitly site- or situation- responsive, as they are not implementations of preexistent ideas, but rather emerge as my original response to the particular sites, materials, people and the various other constituents that are involved in their very production. Interfaces to such hybrids as well as their very material and methodological elements are also shown to be hyper-mediated. It is finally argued that such an approach essentially accelerates multi-perspectivalism in that a project may spawn a number of diverse, typically medium-specific and/or site-specific, artworks that all exemplify different qualities which are congenital to the particular nature of each project.
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Khajehzadeh, Iman. « Gradual : A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay ». Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.

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In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.
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Holland, David. « Developing heightened listening : a creative tool for introducing primary school children to sound-based music ». Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/13304.

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Sound-based music (sbm), which is an umbrella term created by Landy (2007) for music where sound is the main unit rather than the musical note, rarely features in music curricula in schools and currently has a relatively small audience outside of academia. Building on previous research conducted at De Montfort University concerned with widening access to sbm, this thesis investigates whether sbm composition can provide an engaging experience for Key Stage 2 (7-11 year olds) pupils supported by the development of heightened listening skills. The research is interdisciplinary spanning sbm studies, music technology and education, and involved case studies in eight schools with 241 children conducted from 2013 to 2015. Each case study included a series of workshops in which the pupils developed listening skills, recorded sounds and created sound-based compositions. Using a grounded theory approach, qualitative and quantitative data was gathered over three phases through questionnaires, teacher feedback, observations, recordings and pupils’ work. The results of the research indicate that the children had a high level of engagement with the workshop activities. The data also suggests that the heightened listening training helped to support the pupils in their compositional work. The main factor in this engagement appeared to be the opportunity to be creative, which is something that reports since the 1990s have highlighted as essential for all children. Additionally, a range of complex local conditions influenced engagement in each case study and there were indications that engagement also decreased with age. Pupils chose a variety of different approaches for composing sound-based work that ranged from incorporating detailed narratives to focusing purely on experimenting with the sound itself without reference to any external themes. The compositional pathway chosen by each pupil seemed to be partly influenced by previous musical experience.
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Albin, Aaron J. « Conductor Awareness of, Knowledge of, and Attitude Toward Sound Intensity Levels Generated During Ensemble-based Instructional Activities in College-level Schools of Music ». Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149559/.

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In 2011, the National Association of Schools of Music (NASM) took an official position to recognize the importance of hearing health and injury prevention as a standard for all member-accredited institutions. This is the largest national acknowledgement promoting hearing health and safety within the music discipline and among students seeking a music degree in the United States. The purpose of the study is to describe what conductors (i.e., instructors) of college-based ensembles know about hearing health and the generation of sound intensity levels. The study aimed to describe the 1) current state of conductors’ awareness and knowledge of sound intensity levels, 2) current attitudes of conductors toward learning and sharing knowledge of sound intensity levels, and 3) current teaching practices of conductors in regard to equipment usage (e.g. sound level meter, noise dosimeter, hearing protection devices) relating to sound measurement and exposure. Findings indicate 80.2% of conductors (N = 162, 66% employed by NASM-accredited institutions) agree that sounds generated during ensemble-based instructional activities (EBIAs) in college-level schools of music are capable of harming human hearing, but 24.1% “do not know” if EBIAs they conduct ever exceed sound intensity levels capable of harming human hearing, 54.9% do not know “what services or resources” their home institutions offer/refer to students, 93% are never using a noise dosimeter, 40% have never had an audiology exam, and 70% have never used hearing protection during an EBIA. Conductors have a strong openness to change current teaching practices and inform themselves about hearing health, but few are personally informing and educating their students during the EBIA. The study serves to assist conductors and foster a new dialogue among their students, colleagues, staff, and administrators to revise current curriculum, explore sound measurement technologies, and evaluate current hearing health and safety issues inherent in the practice, performance, and teaching of sound intensity levels generated during EBIAs in college-level schools of music.
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Tang, Joyce Wai-chung. « Suite for virtual double bass : a three dimensional composition based on original digital sounds created by computer assisted transformation of original recorded sound samples ». HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/130.

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Belvin, Dena L. « Facilitating Retrieval of Sound Recordings for Use By Professionals Treating Children with Asperger's Syndrome ». Thesis, School of Information and Library Science, 2007. http://hdl.handle.net/1901/432.

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Since the 1970s, music librarians have been discussing the challenges of cataloging music media. In the 1990s, they began work on a Music Thesaurus to provide a multi-faceted approach to indexing, cataloging, and retrieving music media. In 1999 Indiana University proposed a digital music library, to allow for better indexing and retrieval in addition to content-based music retrieval. In 2000, a commercial venture, The Music Genome Project ©, began cataloging sound recordings of popular music by hundreds of musical characteristics and has created a user interface that allows listeners to enter the title and artist of a certain piece of music and receive recommendations for similar music to then purchase via Pandora.com. The following paper will address the question: how might current analyzing and classifying methods be used to provide additional indexing that facilitates retrieval and use of sound recordings by special populations, specifically professionals treating children with Asperger’s syndrome?
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Andersson, Anders-Petter. « Interaktiv musikkomposition ». Doctoral thesis, Högskolan Kristianstad, Sektionen för hälsa och samhälle, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9771.

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This dissertation, titled Interactive Music Composition, is a practice based Ph.D. thesis in the field of Musicology. The purpose is to explore if and how one can compose computer based interactive music, that is musically satisfying for an interacting audience, consisting of both laymen and skilled musicians. The text describes the design and reflection in two interactive music installations: Do-Be-DJ, open-air installation in a public park, and, Mufi, with modular and moveable interface. Based on methods and per­spectives in Musicology and Interaction Design, a composition model for interactive music is developed. The model investigates the experience di­mensions listen, explore, compose and collaborate. It also investigates the design dimensions of interaction, narrative structure, composition rule and sound node. The conceptual approach is to apply improvisation and composition methods from jazz, pop and groove based music on interactive music. It also uses the concepts of openess in musical structures and interpretation, musical mediation of actions and meaning and everyday use of music, when composing interactive music. The dissertation contributes to an understanding of how to create composition techniques for interactive music, such as: Direct, varied and shifting response. It reflects on the change in meaning of the musicological terms composition, improvisation, musical work, listener, musician and audience. And on the interaction design terms interaction, gameplay, system and user. The term co-creator is used to describe an actively, interacting and collaborating person, to complement traditional terms like audience, performer and user.

Ljudfiler till avhandlingens bilaga 1, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Do-Be-DJ, Interaktiv installation, http://musicalfieldsforever.com/dobedj_more.html; Videodokumentation av Mufi I och II, Interaktiv installation, http://musicalfieldsforever.com/mufi_more.html; Doktorandtjänsten finansierades av Interactive Institute; Musikinspelning finansierades av Framtidens Kultur genom Skiften på Malmö högskola


Interaktiv musikkomposition
Interactive Music Composition
Interaktiv ljuddesign
Interactive Sound Design
Musik och Hälsa
Music and Health
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Livres sur le sujet "Sound-based music"

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Lloyd, Dean. Acutone : A new system of healing based on the ancient science of sound. La Mesa, Calif : La Mesa Holistic Center, 2000.

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Shambro, Joe. How to start a home-based recording studio business. Guilford, Conn : Globe Pequot Press, 2011.

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Sikh sacred music : Based on musicology of Sri Guru Granth Sahib ji : with sound tracks of hymn compositions based on 31 mukh raagas = Srī Gurū Grantha Sāhiba jī de rāgātamika darashana dīdāra : 31 mukkha rāgāṃ 'te ādhārata shabada rītāṃ sī. ḍī. sahita. Copenhagen, Denmark : Publication Bureau, Punjabi School Denmark, 2013.

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Menasché, Emile. The desktop studio : A guide to computer-based audio production. Milwaukee, WI : Hal Leonard, 2002.

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Myers, Kurtz. Index to record reviews, 1984-1987 : Based on material originally published in Notes, the quarterly journal of the Music Library Association, between 1984 and 1987. Boston, Mass : G.K. Hall, 1989.

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Index to record reviews, 1978-1983 : Based on material originally published in Notes, the quarterly journal of the Music Library Association, between 1978 and 1983. Boston, Mass : G.K. Hall, 1985.

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Schloss, Joseph Glenn. Making beats : The art of sample-based hip-hop. Middletown, Conn : Wesleyan University Press, 2004.

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Ystad, Sølvi. Speech, Sound and Music Processing : Embracing Research in India : 8th International Symposium, CMMR 2011, 20th International Symposium, FRSM 2011, Bhubaneswar, India, March 9-12, 2011, Revised Selected Papers. Berlin, Heidelberg : Springer Berlin Heidelberg, 2012.

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Landy, Leigh. Sound-Based Music 4 All. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199792030.013.0025.

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Lapidus, Benjamin. New York and the International Sound of Latin Music, 1940-1990. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831286.001.0001.

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New York City has long been a generative nexus for the transnational Latin music scene. Currently, there is no other place in the Americas where such large numbers of people from throughout the Caribbean come together to make music. This book seeks to recognize all of those musicians under one mighty musical sound, especially those who have historically gone unnoticed. Based on archival research, oral histories, interviews, and musicological analysis, the book examines how interethnic collaboration among musicians, composers, dancers, instrument builders, and music teachers in New York City set a standard for the study, creation, performance, and innovation of Latin music. Musicians specializing in Spanish Caribbean music in New York cultivated a sound that was grounded in tradition, including classical, jazz, and Spanish Caribbean folkloric music. The book studies this sound in detail and in its context. It offers a fresh understanding of how musicians made and formally transmitted Spanish Caribbean popular music in New York City from 1940 to 1990. Without diminishing the historical facts of segregation and racism the musicians experienced, the book treats music as a unifying force. By giving recognition to those musicians who helped bridge the gap between cultural and musical backgrounds, it recognizes the impact of entire ethnic groups who helped change music in New York. The study of these individual musicians through interviews and musical transcriptions helps to characterize the specific and identifiable New York City Latin music aesthetic that has come to be emulated internationally.
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Chapitres de livres sur le sujet "Sound-based music"

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Han, Wenhan, et Xiping Hu. « Alarm Sound Recommendation Based on Music Generating System ». Dans Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 86–95. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17513-9_7.

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Wang, Wenwu, et Hafiz Mustafa. « Single Channel Music Sound Separation Based on Spectrogram Decomposition and Note Classification ». Dans Exploring Music Contents, 84–101. Berlin, Heidelberg : Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23126-1_7.

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Bevilacqua, Frédéric, Norbert Schnell, Jules Françoise, Éric O. Boyer, Diemo Schwarz et Baptiste Caramiaux. « Designing Action–Sound Metaphors Using Motion Sensing and Descriptor-Based Synthesis of Recorded Sound Materials ». Dans The Routledge Companion to Embodied Music Interaction, 391–401. New York ; London : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-43.

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Raval, Pallav, et Jabez Christopher. « Parameter Tuning for Wavelet-Based Sound Event Detection Using Neural Networks ». Dans Artificial Intelligence in Music, Sound, Art and Design, 235–47. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72914-1_16.

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Jiang, Wenxin, Alicja Wieczorkowska et Zbigniew W. Raś. « Music Instrument Estimation in Polyphonic Sound Based on Short-Term Spectrum Match ». Dans Foundations of Computational Intelligence Volume 2, 259–73. Berlin, Heidelberg : Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-01533-5_10.

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Ikeuchi, Ryota, et Kazushi Ikeda. « An Automatic Music Transcription Based on Translation of Spectrum and Sound Path Estimation ». Dans Neural Information Processing, 532–40. Berlin, Heidelberg : Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24955-6_64.

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Kirke, Alexis, Eduardo R. Miranda et Slawomir J. Nasuto. « Learning to Make Feelings : Expressive Performance as a Part of a Machine Learning Tool for Sound-Based Emotion Control ». Dans From Sounds to Music and Emotions, 490–99. Berlin, Heidelberg : Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_29.

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Sidler, Natalia. « Synesthetic Design of Music Visualization Based on Examples from the Sound-Color-Space Project ». Dans X.media.publishing, 143–53. Berlin, Heidelberg : Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-540-69002-3_12.

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Huang, Yu Ting, et Chi Nung Chu. « Sound to Sight : The Effects of Self-generated Visualization on Music Sight-Singing as an Alternate Learning Interface for Music Education within a Web-Based Environment ». Dans Human-Computer Interaction. Applications and Services, 386–90. Berlin, Heidelberg : Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39262-7_44.

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Schiavoni, Flávio Luiz. « Event-Based Ubiquitous Music Interaction with MCMM : A Musical Communication Modeling Methodology ». Dans Bridging People and Sound, 284–98. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-67738-5_17.

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Actes de conférences sur le sujet "Sound-based music"

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Nasir, B. M. « DSP based analysis, processing and synthesis of sound ». Dans IEE Colloquium on Audio and Music Technology : the Challenge of Creative DSP. IEE, 1998. http://dx.doi.org/10.1049/ic:19980831.

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Birnie, Lachlan, Thushara D. Abhayapala, Hanchi Chen et Prasanga N. Samarasinghe. « Sound Source Localization in a Reverberant Room Using Harmonic Based Music ». Dans ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8683098.

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Doll, Travis M., Raymond Migneco et Youngmoo E. Kim. « Web-based sound and music games with activities for STEM education ». Dans 2009 International IEEE Consumer Electronics Society's Games Innovations Conference (ICE-GIC 2009). IEEE, 2009. http://dx.doi.org/10.1109/icegic.2009.5293606.

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Omiya, Kenta, et Kenji Suyama. « Sound source tracking via two microphones based on MUSIC using PSO ». Dans 2016 International Symposium on Intelligent Signal Processing and Communication Systems (ISPACS). IEEE, 2016. http://dx.doi.org/10.1109/ispacs.2016.7824718.

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Damiani, Luca M., et Riz Maslen. « Aqua Recoded – Hyper Hack:usis : Sound and music based on hearing health ». Dans Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.23.

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Sewtz, Marco, Tim Bodenmuller et Rudolph Triebel. « Robust MUSIC-Based Sound Source Localization in Reverberant and Echoic Environments ». Dans 2020 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2020. http://dx.doi.org/10.1109/iros45743.2020.9340826.

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Ishi, Carlos T., Olivier Chatot, Hiroshi Ishiguro et Norihiro Hagita. « Evaluation of a MUSIC-based real-time sound localization of multiple sound sources in real noisy environments ». Dans 2009 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS 2009). IEEE, 2009. http://dx.doi.org/10.1109/iros.2009.5354309.

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Lee, Jong H., et Joohwan Chun. « Estimation of fundamental frequencies in polyphonic music sound using subspace-based approach ». Dans International Symposium on Optical Science and Technology, sous la direction de Franklin T. Luk. SPIE, 2001. http://dx.doi.org/10.1117/12.448674.

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Phipps, Anthony, Karim Ouazzane et Vassil Vassilev. « Your Password Is Music To My Ears : Cloud Based Authentication Using Sound ». Dans 2021 11th International Conference on Cloud Computing, Data Science & Engineering (Confluence). IEEE, 2021. http://dx.doi.org/10.1109/confluence51648.2021.9377126.

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Ikeda, Yusuke, et Shiro Ise. « Sound Cask : Music and voice communications system with three-dimensional sound reproduction based on boundary surface control principle. » Dans ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4800251.

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