AbsEn.i
Exploration
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Exploration
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Serveur d'exploration Debussy - Exploration (Accueil)

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List of bibliographic references indexed by type

Number of relevant bibliographic references: 14.
Ident.Authors (with country if any)Title
000026 (2014-09-10) Alexis Clay [France] ; Gaël Domenger [France] ; Julien Conan [France] ; Axel Domenger ; Nadine Couture [France]Integrating Augmented Reality to Enhance Expression, Interaction & Collaboration in Live Performances: a Ballet Dance Case Study
000064 (2012) Patrick Georges [Canada] ; Aylin Seçkin [Turquie]Black notes and white noise: a hedonic approach to auction prices of classical music manuscripts
000371 (2007) Michael RussSome Observations on Pm,n Relations within Set Classes
000830 (2003) Stephanie Wilson [Australie]The Effect of Music on Perceived Atmosphere and Purchase Intentions in a Restaurant
000878 (2002) Adam Ockelford [Royaume-Uni]The Magical Number Two, Plus or Minus One: Some Limits on our Capacity for Processing Musical Information
000A44 (2000) Adrian C. North [Royaume-Uni] ; David J. Hargreaves [Royaume-Uni] ; Jennifer Mckendrick [Royaume-Uni]The Effects of Music on Atmosphere in a Bank and a Bar
000B05 (1999) Thomas Berg [Allemagne]Stress Variation in British and American English
000E96 (1993) Alan Smaill [Royaume-Uni] ; Geraint Wiggins [Royaume-Uni] ; Mitch Harris [Royaume-Uni]Hierarchical music representation for composition and analysis
000F56 (1992) Jessica Halpern [Canada]Effects of Historical and Analytical Teaching Approaches on Music Appreciation
001017 (1991) David BabcockDušan Martinček: An Introduction to His Music
001206 (1987) Alice-Ann Darrow [États-Unis] ; Paul Haack [États-Unis] ; Fumio Kuribayashi [États-Unis]Descriptors and Preferences for Eastern and Western Musics by Japanese and American Nonmusic Majors
001439 (1982) Judith AlpertThe Effect of Disc Jockey, Peer, and Music Teacher Approval of Music on Music Selection and Preference
001F35 (1949) Sandor Veress“Bluebeard's Castle”
001F41 (1949) Gustave SamazeuilhRichard Strauss and France

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