Rozprawy doktorskie na temat „Dynamik i musik”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Dynamik i musik”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
Gudmundson, Perols Erik, i Cecilia Hahne. "Musikalisk dynamik och inlärning : En studie huruvida dynamik i musik påverkar inlärning i datorspel". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20089.
Pełny tekst źródłaDet finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.
Aronsson, Ludwig. "Trumma tyst! : En studie om nya tekniska och musikaliska möjligheter genom volymsvag övning". Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74048.
Pełny tekst źródłaJunestav, Hannes. "Dramaturgiska förlopp inom jazzmusik". Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3019.
Pełny tekst źródłaMöller, Marta. "Att brottas med musiken : En självstudie i erfarandet av dynamik utifrån ett solostycke". Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68415.
Pełny tekst źródłaIn order to find out and become aware of my own use of dynamics and the use of it in performance, I have made a study on this. The purpose is based on several comments during master classes and lessons, as I have always been told that I never express enough dynamics in the performed piece. My research is based on the experience of my own practice and the development of big dynamic contrasts in the flute piece Density 21.5 byEdgard Varése. I also explore and look at the influences of the room acoustic and the matter it has on the actual dynamic. The background research emphasizes how dynamics are gaining importance through history, how to use dynamics on the flute, previous research that has been made on the study of pieces and acoustics and also the theoretical perspective of body phenomenology by Merleau-Ponty. The method chapter clarifies the structure of the study and how practice situations have been highlighted through logbook, audio- and video recording. This has then been analyzed through detailed body phenomenology and an attempt has also been made to clarify factors that can improve my own dynamic control and its experience. Finally, there is a discussion which brings up how habits and activities of the body affect the experience in both practice and performance.
Wicher, Michaela [Verfasser], i Joachim [Akademischer Betreuer] Westerbarkey. "Independent als Musik- und Produktionskultur : Autonomie und Authentizität zwischen Tradition, Dynamik und Rentabilitätserfordernis ; eine theoretische und pragmatische Aufarbeitung / Michaela Wicher. Betreuer: Joachim Westerbarkey". Münster : Universitäts- und Landesbibliothek der Westfälischen Wilhelms-Universität, 2012. http://d-nb.info/1027020968/34.
Pełny tekst źródłaKrause, Marco [Verfasser], Ronald [Akademischer Betreuer] Hitzler i Eva [Gutachter] Kimminich. "Moden in der Hip-Hop-Szene: eine ethnographische Studie über die Bedeutung und Dynamik von Modestrukturen / Marco Krause ; Gutachter: Eva Kimminich ; Betreuer: Ronald Hitzler". Dortmund : Universitätsbibliothek Dortmund, 2018. http://d-nb.info/1191479811/34.
Pełny tekst źródłaNilsson, Simon. "Four Chords : Förutsägbart eller genialiskt?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-66945.
Pełny tekst źródłaDanielsson, Joel. "Hur påverkar den musikaliska bakgrunden musikers yrkesutövande?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1775.
Pełny tekst źródłaGanrot, Ulf. "Att skapa en poplåt i årskurs 5 & 6, ackord & text". Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32475.
Pełny tekst źródłaEriksson, Oliver, i Philip Lindau. "Evaluating an adaptive music system in an adventure game environment". Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22821.
Pełny tekst źródłaMacrae, Robert. "Linking music metadata". Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8837.
Pełny tekst źródłaWashburn, Megan E. "Dynamic Procedural Music Generation from NPC Attributes". DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2193.
Pełny tekst źródłaWallius, Malin. "Dissonans i dynamisk musik : och dess funktion som designverktyg för spel". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12387.
Pełny tekst źródłaAndersson, Anton, i Tobias Eriksson. "Effekten av Mickey-Mousing i datorspel : En studie av Mickey-Mousing och dess effektivitet i dynamiska datorspel". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17145.
Pełny tekst źródłaAarden, Bret J. "Dynamic melodic expectancy". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1060969388.
Pełny tekst źródłaWestling, Tony. "Symfonisk musik i spelmusik : Undersökning om genombrottet för symfonisk musik i tv och datorspel". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-176001.
Pełny tekst źródłaKlineburger, Philip C. "The Dynamic Functional Capacity Theory: Music Evoked Emotions". Diss., Virginia Tech, 2014. http://hdl.handle.net/10919/50991.
Pełny tekst źródłaPh. D.
Young, David M. "Adaptive Game Music: The Evolution and Future of Dynamic Music Systems in Video Games". Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340112710.
Pełny tekst źródłaSverin, Gustav. "Dynamisk musiks narrativa funktion i datorspel : En undersökning av den transdiegetiska ljudtypen dynamisk musiks påverkan på det ickelinjära berättandet i ett action- science fictionspel". Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-9766.
Pełny tekst źródłaOlofsson, Dan. "Har musik betydelse för studieresultat". Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1672.
Pełny tekst źródłaThe purpose of my study is to examine if the total study results differ between music classes and regular classes. Are there higher grades in music classes? If so, what are the causes for this? I chose to make an inquiry at two schools in different town districts, with music classes. At those schools I also collected data of pupils grades, and was informed by the principals and the music teachers about the activities. The number of respondents were ninety.
The inquiry showed that the grades were markedly better in music classes, and that you can see great differences in well-being, parental engagement and ambition level, compared to regular classes. The study gives several factors. The social background has some significance. The group effect of the music playing and the well-being in class has good influence on the grades.
Nygren, Elin. "Spegling, härbärgering och grundning : en studie av tre begrepp i det terapeutiska rummet". Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2165.
Pełny tekst źródłaReflecting, containing and grounding – A study of three concepts used in therapy, by Elin Nygren is a study carried out within the context of Master Program in Music Education, with orientation Music Therapy at The Royal College of Music in Stockholm. The purpose with this paper has been to look into the concepts reflecting, containing and grounding in literature and in interviews. The main focus of these interviews has been to explore how four therapists in therapy uses the concepts and how music can develop these. The paper is based on the developmental psychology theories and Wigram’s theories of improvisation techniques in music therapy. The result of this paper is a compilation of the interviews, after being processed according to the model of Thematic Analysis. In the result it is reported how the therapists describes the methodological use of the concepts adapted to the different audiences they work with. In the compilation it was clear that the four therapists have equivalent perspectives about the three concepts function for the therapist and an equivalent definition of them. It also appeared that music is analogue to Sterns dynamic forms of vitality and compatible with how humans communicate.
Salmela, Markus, i Sakari Ylönen. "The New Music Industry : - Understanding the Dynamics of the New Consumer of Music". Thesis, Jönköping University, JIBS, EMM (Entrepreneurship, Marketing, Management), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-11902.
Pełny tekst źródłaThe music industry today is undergoing a revolution with digital distribution of music taking over the traditional sales of physical CDs (Mewton, 2008). The peer-to-peer networking and illegal music piracy is a problem that lately has been widely discussed in forums of ethics, legal issues and economical aspects, followed by a music industry trying to solve the situation with new business models enhancing digital sales, e.g. the tip jar model (Hiatt & Serpick, 2007). The tip jar model embodies the problem the industry is facing since it allows the consumer to choose whether to pay or not. Therefore the question of what leads the consumer to pay instead of download or pirate music has been researched in many aspects. However it has been made to a lesser extent in theory of loyalty and liking and their implications on the new business models’ success and the new consumer of music.
Previous research within music piracy has mainly explored demographics, macro- and micro economical perspectives such as artist and record company loss of welfare and consumer surplus (Coyle et al., 2008). We find it of interest to instead further explore the impacts of theories about consumer liking, loyalty and attitudes (Wells & Prensky, 1996; Shiffman & Kanuk, 1987; Solomon et al., 2002) as an addition to this existing knowledge to enhance the understanding about the new consumer of music. The purpose of this thesis is to analyze artist liking, artist loyalty and attitudinal factors’ impact on consumers’ music piracy intentions. The study is an explanatory study based on quantitative data collected in the region of Jönköping where the collection of data has been conducted by using two questionnaires; one among students at the School of Education and Communication (Jönköping University) and one at the A6 shopping-center. This data has been summarized to create independent variables used in a multiple regression analysis to calculate their impacts on piracy to confirm or reject the from theory deduced hypotheses.
The results from the multiple regression analysis show that the attitudinal factors do not have a direct impact on piracy intentions; however the other two independent variables, measuring the artist loyalty and artist liking have a larger impact. Surprisingly, a higher level of loyalty increases the intentions to pirate music while, as anticipated from theory (Solomon et al., 2002; Shiffman & Kanuk, 1987), higher liking decreases intentions. The conclusion is that the artist liking variable and artist loyalty variable are resulting in a bridge over piracy where the pillars are built of liking and the bridge itself is built of loyalty, stressing the importance of maintaining high levels of liking to maintain purchasing behavior online.
Befus, Chad R., i University of Lethbridge Faculty of Arts and Science. "Design and evaluation of dynamic feature-based segmentation on music". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Mathematics and Computer Science, c2010, 2010. http://hdl.handle.net/10133/2531.
Pełny tekst źródłaviii, 94 leaves : ill. ; 29 cm
Pehrs, Corinna [Verfasser]. "Neural Network Dynamics During Socio-Emotional Cue-Integration / Corinna Pehrs". Berlin : Freie Universität Berlin, 2016. http://d-nb.info/1081367016/34.
Pełny tekst źródłaAfonso, João José do Vale. "Creating a dynamic music artist profile supported by waves of mashups". Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/3681.
Pełny tekst źródłaO advento da Internet provocou alterações em diversas áreas da sociedade entre as quais a industria musical. Neste campo, essas mudanças levaram a que todo um modelo de negócio tenha agora de ser repensado. As editoras parecem estar a perder o controlo sobre a partilha dos conteúdos mas também sobre a própria promoção de artistas e obras. Hoje em dia qualquer pessoa pode ser um critico de música e exercer influencia dentro das suas redes sociais. É neste contexto que surge o Urock, uma aplicação multiplataformas para a partilha e transmissão de conteúdos musicais que permite aproximação entre artista e público. A especificação deste projecto levantou várias questões, entre as quais como atrair novos utilizadores e lidar com a quantidade de informação e conteúdos que estes têm dispersos na rede. O advento da tecnologia de mashups poderá ser a resposta a este problema. O utilizador comum tem, normalmente, a sua informação mais concentrada num local da rede e controlo sobre os seus conteúdos. No entanto, o utilizador artista pode ter a sua informação dispersa por vários locais na rede e pode não ter controlo sobre os conteúdos que lhe dizem respeito. Por esse motivo, a presente investigação procura identificar quais os web services necessários para criar perfil de artista dinâmico. Na impossibilidade de desenvolver a aplicação Urock, foi conceptualizado e implementado um subproduto, o Musikki. Esta aplicação permitiu efectuar um estudo de caso que possibilitou avaliar um modelo de mashups proposto como hipótese de trabalho.
The advent of Internet introduced changes in several areas of society and the music industry is no exception. These changes are forcing to a redefinition of the industryʼs business model. Record labels seem to be losing their control over how music content is shared and even how the promotion of artists and works are made. Nowadays, anyone can be a music critic and influence their network friends on what music to listen to. It is in this context that the Urock project appears, a user-generated content cross-platform application specially oriented for publishing and broadcasting musical content. Its main objective is to help new or established artists to promote their work, creating a bidirectional communication channel between artists and audience. The specification of this project raised several issues, like how to attract new users and how to deal with the information and content they have scattered all over the Internet. The advent of mashup technology might be the solution to this problem. Typically, common users have their information concentrated in one or two locations and total control over their media content. However, the user artist might have his information and content stored in different locations and might not have full control over all their content. For this reason, this research aims to identify which web services can be combined to create a dynamic user profile. Due to time restrictions it was impossible to develop the Urock application. For this reason, Musikki, an Urock sub product, was conceptualized and developed. This application allowed the evaluation, by means of a case study, of the mashup model proposed as a working hypothesis.
Davies, Huw. "Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:3f1e4cfa-4a36-44d8-9f4b-4c623ce6b045.
Pełny tekst źródłaKo, Ching-Tzy. "Dynamic markings in Bach cello suites /". Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/11427.
Pełny tekst źródłaBernschütz, Benjamin [Verfasser], Stefan [Akademischer Betreuer] Weinzierl, Stefan [Gutachter] Weinzierl, Christoph [Gutachter] Pörschmann i Sascha [Gutachter] Spors. "Microphone arrays and sound field decomposition for dynamic binaural recording / Benjamin Bernschütz ; Gutachter: Stefan Weinzierl, Christoph Pörschmann, Sascha Spors ; Betreuer: Stefan Weinzierl". Berlin : Technische Universität Berlin, 2016. http://d-nb.info/1156013852/34.
Pełny tekst źródłaKosta, Katerina. "Computational modelling and quantitative analysis of dynamics in performed music". Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30712.
Pełny tekst źródłaNikolaidis, Ryan John. "A generative model of tonal tension and its application in dynamic realtime sonification". Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42697.
Pełny tekst źródłaBuyan, Amanda C. "Studies of the MuSK system using molecular dynamics simulations". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:16a9e52e-bb6d-4598-b86f-a2652df9f75a.
Pełny tekst źródłaEvans, Lely Dai. "Implications of compound dynamic accent markings in Beethoven's early chamber works with the fortepiano". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0042.
Pełny tekst źródłaLéo, Smith. "The Effect of Dynamic Music in Video Games : An Overview of Current Research". Thesis, Uppsala universitet, Institutionen för speldesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414409.
Pełny tekst źródłaSmejkal, Vojtěch. "Smart Sheet Music Reader for Android". Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2014. http://www.nusl.cz/ntk/nusl-236136.
Pełny tekst źródłaHousley, Laura L. "Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338377470.
Pełny tekst źródłaShao, Bo. "User-centric Music Information Retrieval". FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/416.
Pełny tekst źródłaUpham, Finn. "Quantifying the temporal dynamics of music listening: a critical investigation of analysis techniques for collections of continuous responses to music". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104495.
Pełny tekst źródłaL'évaluation des réactions continues permet d'obtenir un tracé riche en données de l'expérience des auditeurs par rapport à la musique au fil du temps. En règle générale, les réactions des auditeurs sont analysées par ensembles, c'est-à-dire par groupes de séries chronologiques portant sur de mêmes relevés de réactions au même stimulus provenant d'écoutes multiples. La variabilité entre les réactions et les défis inhérents à l'analyse des séries chronologiques rendent l'interprétation de ces ensembles encore plus complexe. La présente thèse décrit des méthodes traditionnelles et nouvelles d'analyse d'ensembles de réactions continues à la musique afin d'identifier quelles informations peuvent être recueillies dans ces ensembles avant de tenter d'établir des liens possibles avec les caractéristiques de la musique stimulante. En plus de l'étude mathématique de ces méthodes d'analyse, leurs résultats potentiels ont été évalués en appliquant chacune d'entre elles à quarante de ces ensembles d'évaluation de réactions continues ainsi qu'à quatre ensembles artificiels d'évaluations de réactions continues non apparentés. Les analyses traditionnelles étudiées comprennent les séries chronologiques moyennes et des corrélations de Pearson entre les réactions continues comme évaluation de la fiabilité de la réaction. Le chapitre portant sur les nouvelles techniques commence par une présentation de l'analyse de l'activité et des tests de coordination. Par la suite, il évalue les mesures de pertinence des repères temporels de ces ensembles, puis il rend compte de l'analyse par regroupements visant à identifier des modèles précis de réactions aux mêmes stimuli. Les résultats de ces analyses sous-tendent que bien que la musique ne provoque pas la même réaction chez tous les auditeurs, l'oeuvre musicale peut créer des expériences d'écoute distinctes et reproductibles pouvant être évaluées dans des ensembles de réactions continues.
Straaten, Eva-Maria Alexandra van [Verfasser], Birgit [Akademischer Betreuer] Abels, Birgit [Gutachter] Abels i Regina [Gutachter] Bendix. "Listening Out for Sangīt Encounters : Dynamics of Knowledge and Power in Hindustani Classical Instrumental Music / Eva-Maria Alexandra van Straaten ; Gutachter: Birgit Abels, Regina Bendix ; Betreuer: Birgit Abels". Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1180662881/34.
Pełny tekst źródłaMoon, Harry Edward. "Ralph Vaughan Williams' "A sea symphony" for soprano, baritone, chorus and orchestra: a conductor's study and performance". Diss., University of Iowa, 1987. https://ir.uiowa.edu/etd/5893.
Pełny tekst źródłaPortelli, Daniel. "Mapping the dynamic life of lines in a multimodal compositional practice". Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/32048/.
Pełny tekst źródłaLindström, Erik. "A Dynamic View of Melodic Organization and Performance : Perception of Structure and Emotional Expression in Music". Doctoral thesis, Uppsala University, Department of Psychology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4242.
Pełny tekst źródłaPsychology of music has shown renewed interest in how music expresses emotion to listeners. However, there is an obvious lack of research on how interactions between musical factors such as harmony, rhythm, melodic contour, loudness, and articulation may affect perceived emotion. From previous literature on music analysis and music cognition there is evidence that tonality may be activated and affected by rhythm and melody. These ideas generated hypotheses regarding melodic organization and performance, for instance, (a) certain notes in a melodic structure have expressive potentials due to their place in the key/chord, (b) these notes could be activated by accents in the melodic structure and/or in live music performance. In Study I, a simple tune was systematically manipulated with regard to harmonic progression, rhythm and melodic contour. Listener ratings of the resulting versions showed that perceived structure (instability, complexity, tension) and emotion (sadness, anger, expressivity) could be partly interpreted as resulting from accent structures and stress on certain notes. In Study II, musicians were asked to perform some of the above-mentioned versions so as to express happiness, sadness, tenderness and anger. The performers used loudness and articulation to compensate for lack of adequate inherent expression in melodies. They also highlighted certain notes of relevance for the emotional meaning by means of stress in articulation, loudness and timing. In Study III, simple three-note sequences were manipulated with regard to melodic, metric and rhythmic accents as well as (computer-) performed accents (loudness, articulation and timing) on certain target notes. Listening tests showed that accent on a tense note enhanced perceived anger. A note essential for the identity of major mode affected perception of happiness, whereas a note essential for minor mode affected perception of sadness. The results in this thesis have implications for a dynamic view of melodic organization and performance.
Lindström, Erik. "A dynamic view of melodic organization and performance : perception of structure and emotional expression in music /". Uppsala : Acta Universitatis Upsaliensis, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4242.
Pełny tekst źródłaGlarner, Robert Lewis. "An investigation into the relationship of instrumental density and dynamics of the Fourth Symphony by Charles Ives". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186184.
Pełny tekst źródłaGeorge, Aimée. "An exploration of the gender and sexual dynamics for women performers in the Cape Town jazz community". Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33739.
Pełny tekst źródłaHorseman, Samantha Marie. "Dynamic relationships between the sonic artist, the sonic artwork and its audience : an investigation through theoretically informed creative practice". Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/18077/.
Pełny tekst źródłaLáníková, Jaroslava. ""Hudební scéna" - koncertní sál pro město Brno". Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-393996.
Pełny tekst źródłaRoach, Alan. "On the dynamics of DJ subcultures : simulations of northern soul and house music genres". Thesis, University of Surrey, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504798.
Pełny tekst źródłaForsberg, Hansson Love. "The Sound of Globalization : Mapping the Dynamics in Contemporary Urban Landscape of Concert Venues". Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-147290.
Pełny tekst źródłaKoen, Benjamin David. "Devotional music and healing in Badakhshan, Tajikistan preventive and curative practices /". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1059673277.
Pełny tekst źródłaTitle from first page of PDF file. Document formatted into pages; contains xx, 299 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Margartio Mazo, School of Music. Includes bibliographical references (p. 276-298).
Cox, Owen. "The interpretation of unusual dynamic markings in Beethoven's string quartet in Bb Major, Op. 130 : a study of selected twentieth-century recordings". Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/100042/.
Pełny tekst źródła