No description available.

No description available.

No description available.

No description available.

黃志偉. / 手稿本影印本. / Thesis (M.A.)--香港中文大學傳播學部, 1991. / Shou gao ben ying yin ben. / Includes bibliographical references (leaves i-iv). / Huang Zhiwei. / Thesis (M.A.)--Xianggang Zhong wen da xue Chuan bo xue bu, 1991. / Chapter 壹 --- 導　論 --- p.1 / Chapter 貳 --- 文獻參閱 --- p.11 / Chapter (一) --- MISC´ؤ小國音樂工業研究計劃 --- p.11 / Chapter (二) --- 媒介帝國主義 --- p.33 / Chapter (三) --- 跨國公司 --- p.41 / Chapter (四) --- 其他有關文獻 --- p.54 / Chapter 参 --- 研究方法 --- p.66 / Chapter (一) --- 研究目的 --- p.66 / Chapter (二) --- 基本概念 --- p.73 / Chapter (三) --- 研究方法 --- p.80 / Chapter 肆 --- 歐美流行音樂與五大國際唱片集團 --- p.99 / Chapter (一) --- 歐、美流行音樂發展概況 --- p.101 / Chapter (二) --- 五大唱片集團壟斷下之國際唱片業 --- p.115 / Chapter 伍 --- 跨國唱片公司的發展、業績及組織結構 --- p.131 / Chapter (一) --- 五大跨國唱片公司在香港之發展 --- p.131 / Chapter (二) --- 跨國唱片公司的組織結構及其輸入外國流行音樂信息之模式 --- p.158 / Chapter (三) --- 五大跨國唱片公司壟斷下之粤語流行樂壇 --- p.183 / Chapter (四) --- 跨國唱片公司組織結構對粤語流行曲改編歌曲之影響 --- p.202 / Chapter 陸 --- 香港粤語流行曲的外來成份 --- p.216 / Chapter (一) --- 五、六十年代作品分析 --- p.228 / Chapter (二) --- 七、八十年代作品分析 --- p.248 / Chapter 柒 --- 總結 --- p.271 / Chapter (一) --- 研究成果摘要 --- p.271 / Chapter (二) --- MISC　互動模型的分析結果 --- p.285 / Chapter (三) --- 討論 --- p.305 / 參考書目 --- p.i / Chapter 附錄 --- 附件(一)：香港電台中文歌曲龍虎榜 一九七七年至八九年 每周榜首歌曲名單 --- p.v / 附件(二)：歷屆十大中文金曲入選作品（1978-1989） --- p.xii / 附件(三)：個人訪問之基本問題(1)´ؤ作曲家、樂評人、電台工作者 --- p.xviii / 附件(四)：個人訪問之基本問題(2)´ؤ跨國唱片公司國際部行政人員 --- p.xx

Zugl.: Göteborg, Handelshögskolan, Diss., 2007

Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the integrity of the composer's intentions.

No description available.

This practice-based enquiry into United Kingdom based collecting rooms reveals five participants’ motivations, frustrations and satisfactions manifested in the creation of their spaces. Through the examination of theorists and commentators in the distinct but related fields of cultural theory, sociology and art, the thesis proposes that a collector’s past can be witnessed through memories generated by and within the space. The thesis also advances the idea that part of the experience of the space takes place in the present but simultaneously imagines the future. I have constructed spatial portraits using semi-structured interviews, photography and video, which explore the environment of each collector thus gaining insights into individual circumstances and personal situations. Narrative within this enquiry takes three intersecting forms: firstly the account of the construction of each collecting room, which divests objects of their historical origins, replacing these with personal associations or meanings devised by each collector. Secondly, each participants’ re-telling of their narratives and thirdly through the re-presentation of the collectors’ narratives to an audience. The latter brings my agency as an artist into focus. Uniting all three narrative forms, the creative practice intends to produce a metanarrative of each collecting room that further investigates the temporality of the space through the combined use of still photography, video and sound. Constructed from a symbiotic relationship between theory and practice, the research uses a methodology that combines Sensory Ethnography with Interpretive Phenomenological Analysis. This methodology explores the idiosyncrasies of each collector, engendering an extensive investigation of the individual collecting spaces. This detailed approach formed and eventually determined the number of participants, resulting in the production of a developmental case study and four original re-presentations that respond to ideas and debates on collecting, material culture and domestic space. These artworks that have been informed by combining existing research methods and constitute my contribution to new knowledge, disclosing ideas and observations which combine narrative and experience not necessarily discernable from theoretical arguments alone.

M.Sc., Faculty of Science, University of the Witwatersrand, 2011 / Studies have shown that text-to-speech systems need detailed prosodic models of a language in order to ideally sound natural to native speakers of the language. A text-to-speech system developed for Sesotho needs to have tone implemented in it since Sesotho is a tonal language which uses pitch variations to distinguish lexical and/or grammatical meaning. In order to implement tone for a language such as Sesotho, it is necessary for a tone modeling algorithm to receive as input the tone labels of the syllables of a word. This allows the algorithm to predict the appropriate intonation of the word. The aim of our study is to improve a basic tone labeling algorithm that predicts tone labels using three Sesotho tonal rules. The application of this algorithm is restricted to polysyllabic verb stems. The research study involves implementing an extended tone labeling algorithm that implements four additional Sesotho tonal rules and extends its application to all the other parts of speech. The results of our study show that the extended tone labeling algorithm significantly improves the basic algorithm by increasing the number of matched tone labels. Furthermore, our study provides the basic step to tone modeling for languages such as Sesotho which do not mark tone labels in orthography.