Springer handbook of systematic musicology:
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| Format: | Buch |
| Sprache: | English |
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| Beschreibung: | XXXIV, 1094 Seiten Diagramme, Illustrationen 27 cm |
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Datensatz im Suchindex
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| adam_text | Contents
List of Abbreviations................................................. XXIX
1 Systematic Musicology:
A Historical Interdisciplinary Perspective
Albrecht Schneider................................................ 1
1.1 Systematic Musicology: Discipline and Field of Research........... 1
1.2 Beginnings of Music Theory in Greek Antiquity..................... 2
1.3 From the Middle Ages to the Renaissance and Beyond:
Developments in Music Theory and Growth of Empiricism....... 3
l.A Sauveur, Rameau and the Issue of Physicalism in Music Theory .... 5
1.5 Concepts of Systems and Systematic Research....................... 7
1.6 Systematic Approaches:
Chladni, Helmholtz, Stumpf, and Riemann..................... 9
1.7 Gestalt Quality and Gestalt Psychology........................... 12
1.8 Music Psychology: Individual and Sociocultural Factors........... 1A
1.9 Some Modern Developments......................................... 15
1.10 Systematic Musicology as a Musicological Discipline.............. 17
References........................................................ 19
Part A Musical Acoustics and Signal Processing
2 Vibrations and Waves
Wilfried Kausel........................................................ 29
2.1 Vibrations....................................................... 29
2.2 Waves........................................................... 33
2.3 Wave Equations 1-D............................................... 36
2 A Solution for 1-D-Waves........................................... AO
2.5 Stiffness........................................................ A6
References............................................................. A6
3 Waves in Two and Three Dimensions
Wilfried Kausel........................................................ A9
3.1 Waves on a Surface............................................... A9
3.2 Solution for Waves on a Surface.................................. 52
3.3 Sound Waves in Space............................................. 56
References............................................................. 62
A Construction of Wooden Musical Instruments
Chris Waltham, Shigeru Yoshikawa....................................... 63
A.l Scope............................................................ 63
A.2 Physical Properties of Wood...................................... 65
A.3 Tonewoods........................................................ 68
A.A Framewoods..................................................... 72
A.5 Construction..................................................... 7A
A.6 Conclusion....................................................... 78
A.A Appendix......................................................... 78
References............................................................. 78
XX Contents
16 Automatic Score Extraction
with Optical Music Recognition (OMR)
Ichiro Fujinaga, Andrew Hankinson, Laurent Pugin....................... 299
16.1 History......................................................... 299
16.2 Overview........................................................ 300
16.3 OMR Challenges.................................................. 301
16.4 Technical Background.......................................... 302
16.5 Adaptive OMR.................................................... 305
16.6 Symbolic Music Encoding......................................... 305
16.7 Tools........................................................... 307
16.8 Future.......................................................... 308
References............................................................. 309
17 Adaptive Musical Control
of Time-Frequency Representations
Doug Van Hort, Phillippe Depalle.............................. 313
17.1 State-Space Analysis/Synthesis.................................. 314
17.2 Recursive, Infinite-Length Windows.............................. 316
17.3 Kalman Filter-Based Phase Vocoder............................... 317
17.4 Additive Layer and Higher-Level Architecture.................... 318
17.5 Sound Transformations........................................... 319
17.6 Adaptive Control of Sound Transformations....................... 320
17.7 Chapter Summary................................................. 325
17.A Appendix 1: Chandrasekhar Implementation........................ 325
17.B Appendix 2: Example 2 EKF Derivation............................ 326
References............................................................. 327
18 Wave Field Synthesis
Tim Ziemer............................................................. 329
18.1 Overview........................................................ 329
18.2 Wave Equation and Solutions..................................... 330
18.3 Wave Front Synthesis............................................ 336
18.4 Current Research and Development................................ 343
References............................................................. 345
19 Finite-Difference Schemes in Musical Acoustics: A Tutorial
Stefan Bilbao, Brian Hamilton, Reginald Harrison, Alberto Torin........ 349
19.1 The 1-D Wave Equation........................................... 350
19.2 The Ideal Bar Equation.......................................... 356
19.3 Acoustic Tubes.................................................. 360
19.4 The 2-D and 3-D Wave Equations.................................. 364
19.5 Thin Linear Plate Vibration..................................... 377
19.6 Extensions to Nonlinear Systems................................. 381
References............................................................. 381
20 Real-Time Signal Processing on Field Programmable
Gate Array Hardware
Florian Pfeifie........................................................ 385
20.1 Overview........................................................ 386
20.2 Digital Binary Logic............................................ 388
20.3 FP6A - A Structural Overview.................................... 390
Contents XXI
20.it Hardware Description Language (HDL)........................... 394
20.5 FPGA Hardware Overview........................................ 397
20.6 FPGA Chips.................................................... 397
20.7 Interfacing With a FPGA....................................... 399
20.8 Real-Time DSP Applications.................................... A02
20.9 Real-Time Filtering Applications.............................. A02
20.10 Real-Time Physical Modeling of Large-Scale Geometries........ A05
20.11 Summary and Outlook............................................. A14
References............................................................. A15
Part C Music Psychology - Physiology
21 Auditory Time Perception
Simon Grondin, Emi Hasuo, Tsuyoshi Kuroda, Yoshitaka Nakajima....... A23
21.1 Methods for Studying Interval Processing......................... A2A
21.2 Processing Time Intervals: Variability........................... A25
21.3 Processing Time Intervals: Perceived Duration................. A29
21. A Theoretical Perspectives......................................... A3A
21.5 Conclusion....................................................... A35
References.......................................................... A3 5
22 Automatic Processing of Musical Sounds in the Human Brain
Elvira Brattico, Chiara Olcese, Mari Tervaniemi..................... AA1
22.1 Perceiving the Music Around Us:
An Attentive or Automatic Process?............................ AA1
22.2 The MMN as a Measure of Automatic Sound Processing
in the Auditory Cortex........................................ AA2
22.3 Neural Generators of the MMN..................................... AA3
22. A The MMN for Studying Automatic Processing
of Simple Musical Rules.......................................... AAA
22.5 ERAN as an Index of Semiautomatic Processing of Musical Rules... AA5
22.6 Environmental Exposure Modulates the Automatic Neural
Representations of Musical Sounds................................ AA5
22.7 Disrupted Automatic Discrimination of Musical Sounds............. AA6
22.8 Conclusions...................................................... AA8
References............................................................. AA8
23 Long-Term Memory for Music
Lola L. Cuddy.......................................................... A53
23.1 Long-Term Memory and the Semantic System......................... A53
23.2 Semantic Memory for Music........................................ A5A
23.3 Evidence from Neuropsychology.................................... A55
23. A Concluding Comments.............................................. A57
References............................................................. 458
2A Auditory Working Memory
Katrin Schulze, Stefan Koelsch, Victoria Williamson................. A61
2A.1 The Baddeley and Hitch WM Model:
Theoretical Considerations and Empirical Support................. A61
2A.2 WM: Behavioral Data.............................................. 462
XXII
Contents
24.3 Neural Correlates Underlying WM................................... 464
24.4 Sensorimotor Codes - Auditory WM and the Motor System.......... 466
24.5 The Influence of LTM on Auditory WM Performance................... 468
24.6 Summary and Conclusion............................................ 468
References............................................................... 469
25 Musical Syntax I: Theoretical Perspectives
Martin Rohrmeier, Marcus Pearce.......................................... 473
25.1 Outline........................................................... 473
25.2 Theories of Musical Syntax........................................ 474
25.3 Models of Musical Syntax.......................................... 477
25.4 Syntactic Models of Different Complexity.......................... 478
25.5 Discussion........................................................ 482
25.A Appendix: The Chomsky Hierarchy................................... 483
References............................................................... 483
26 Musical Syntax II: Empirical Perspectives
Marcus Pearce, Martin Rohrmeier.......................................... 487
26.1 Computational Research............................................ 487
26.2 Psychological Research............................................ 494
26.3 Neuroscientific Research.......................................... 496
26.4 Implications and Issues........................................... 498
References............................................................... 499
27 Rhythm and Beat Perception
Tram Nguyen, Aaron Gibbings, Jessica Grahn............................... 507
27.1 Temporal Regularity and Beat Perception........................... 507
27.2 Behavioral Investigations......................................... 508
27.3 Electrophysiological Investigations............................... 509
27.4 Hemodynamic (fMRI/PET) Investigations............................. 514
27.5 Patient and Brain Stimulation Investigations...................... 515
27.6 Discussion........................................................ 516
References............................................................... 517
28 Music and Action
Giacomo Novembre, Peter E. Keller........................................ 523
28.1 Coupling Action and Perception Through Musical Experience...... 524
28.2 Responding to Music with Action and (Social) Interaction.......... 528
28.3 Conclusion and Perspectives....................................... 534
References............................................................... 534
29 Music and Emotions
Tuomas Eerola............................................................ 539
29.1 The Rise of Music and Emotion Research............................ 539
29.2 Structure of Emotions............................................. 540
29.3 Mechanisms and Modifiers of Emotions.............................. 543
29.4 Measures and Musical Materials.................................... 547
29.5 Current Challenges................................................ 549
References............................................................... 550
Part D Psychophysics/Psychoacoustics
30 Fundamentals
Albrecht Schneider.................................................. 559
30.1 Theoretical and Methodological Background..................... 560
30.2 Types of Sound and Sound Features Relevant for Hearing
and Music Perception........................................... 587
30.3 Some Basics of Sound in a Sound Field......................... 596
References.......................................................... 598
31 Pitch and Pitch Perception
Albrecht Schneider.................................................. 605
31.1 Pitch as Elementary Sensation and as Perceptual Quality....... 606
31.2 Sketch of the Auditory Pathway (AuP)......................... 615
31.3 Excitation of the Auditory System:
From the Tympanum to the BMf the IHC and OHC................... 617
31.A Place Coding and Temporal Coding of Sound Features............. 620
31.5 Auditory Models and Pitch Extraction ......................... 627
31.6 Psychophysics................................................. 629
31.7 Categorical Pitch Perception, Relative and Absolute Pitch..... 6A0
31.8 Scales, Tone Systems, Aspects of Intonation................... 651
31.9 Geometric Pitch Models, Tonality.............................. 663
References.......................................................... 671
32 Perception of Timbre and Sound Color
Albrecht Schneider.................................................. 687
32.1 Timbre and Sound Color: Basic Features........................ 687
32.2 Sensation and Perception of Timbre and Sound Color............ 695
References........................................................... 719
33 Sensation of Sound Intensity and Perception of Loudness
Albrecht Schneider.................................................. 727
33.1 Physical and Physiological Basis of Sound Intensity Sensation. 727
33.2 Models of Loudness Sensation.................................. 730
33.3 From Lab to Disco: Measurements and Perceptual Variability
of Loudness.................................................... 735
33.A Summing up.................................................... 737
References.......................................................... 739
Part E Music Embodiment
34 What Is Embodied Music Cognition?
Marc Leman, Pieter-Jan Maes, Luc Nijs, Edith Van Dyck............... 747
34.1 Ontological and Epistemological Foundations................... 748
34.2 The Architecture of Embodied Music Cognition.................. 750
34.3 Empirical Evidence for Embodied Music Cognition............... 753
34.4 Embodiment and Dynamic Cognition.............................. 756
34.5 Contributions to a Paradigm Shift in Systematic Musicology.... 757
34.6 Conclusion.................................................... 757
References.......................................................... 758
XXIV Contents
35 Sonic Object Cognition
Rolf Inge God0y....................................................... 761
35.1 Object Focus.................................................... 761
35.2 Ontologies...................................................... 763
35.3 Motor Theory.................................................... 764
35.4 Timescales and Duration Thresholds.............................. 765
35.5 Chunking........................................................ 766
35.6 Sound Generation................................................ 767
35.7 Constraints and Idioms.......................................... 768
35.8 Sound Synthesis................................................. 769
35.9 Feature Taxonomy................................................ 770
35.10 Shape Cognition................................................ 771
35.11 Typology and Morphology of Sonic Objects....................... 772
35.12 Singular, Composed, Composite and Concatenated Objects...... 773
35.13 Textures, Hierarchies, Roles and Translations.................. 774
35.14 Analysis-by-Synthesis.......................................... 775
35.15 Summary........................................................ 776
References............................................................ 776
36 Investigating Embodied Music Cognition
for Health and Well-Being
Micheline Lesaffre.................................................... 779
36.1 Transitions in Musicology and Society........................... 779
36.2 Models of Music, Health and Well-Being.......................... 781
36.3 From Theory to Therapeutic Approaches........................... 783
36.4 Conclusion...................................................... 789
References............................................................ 789
37 A Conceptual Framework
for Music-Based Interaction Systems
Pieter-Jan Maes, Luc Nijs, Marc Leman................................. 793
37.1 A Conceptual Model of Music-Based Interaction Systems........... 794
37.2 The Human Reward System......................................... 795
37.3 Social Interaction.............................................. 797
37.4 Monitoring, Motivation, and Alteration.......................... 797
37.5 The Evaluation of Music-Based Interactive Systems............... 799
37.6 Some Case Studies of Applications and Supporting Research.... 799
37.7 Conclusion...................................................... 801
References............................................................ 802
38 Methods for Studying Music-Related Body Motion
Alexander Refsum Jensenius............................................ 805
38.1 Some Key Challenges............................................. 805
38.2 Qualitative Motion Analysis..................................... 806
38.3 Video-Based Analyses............................................ 808
38.4 Sensor-Based Motion Capture..................................... 812
38.5 Synchronization and Storage..................................... 815
38.6 Conclusion...................................................... 816
References............................................................ 816
Part F Music and Media
39 Content-Based Methods for Knowledge Discovery in Music
Juan Pablo Bello, Peter Grosche, Meinard Müller, Ron Weiss ........ 823
39.1 Music Structure Analysis..................................... 824
39.2 Feature Representation....................................... 826
39.3 Music Synchronization and Navigation......................... 827
39.4 Self-Similarity in Music Recordings.......................... 829
39.5 Automated Extraction of Repetitive Structures................ 835
39.6 Conclusions.................................................. 838
References......................................................... 838
40 Hearing Aids and Music:
Some Theoretical and Practical Issues
Marshall Chasin, Neil S. Hockley................................... 841
40.1 Assessment of Musicians...................................... 842
40.2 Peripheral Sensory Hearing Loss.............................. 842
40.3 Direct Assessment of Music with a Peripheral Hearing Loss.... 844
40.4 Acoustic Properties of Music versus Speech................... 844
40.5 Some Strategies to Handle the More Intense Inputs
of Music........................................................ 846
40.6 Some Hearing-Aid Technologies to Handle
the More Intense Inputs of Music................................ 847
40.7 General Recommendations for an Optimal Hearing Aid
for Music....................................................... 849
40.8 Conclusions and Recommendations for Further Research............ 851
References............................................................ 851
41 Music Technology and Education
Estefanía Cano, Christian Dittmar, Jakob Abeßer, Christian Kehling,
Sascha Groll misch.................................................... 855
41.1 Background...................................................... 856
41.2 Music Education Tools........................................... 857
41.3 Sound Source Separation for the Creation
of Music Practice Material ..................................... 859
41.4 Drum Transcription for Real-Time Music Practice................. 862
41.5 Guitar Transcription Beyond Score Notation ..................... 865
41.6 Discussion and Future Challenges ............................... 868
References............................................................ 869
42 Music Learning: Automatic Music Composition
and Singing Voice Assessment
Lorenzo J. Tardón, Isabel Barbancho, Carles Roig, Emilio Molina,
Ana M. Barbancho...................................................... 873
42.1 Related Work on Melody Composition.............................. 874
42.2 Related Work on Voice Analysis for Assessment................... 874
42.3 Music Composition for Singing Assessment........................ 875
42.4 Singing Assessment.............................................. 879
42.5 Summary......................................................... 881
References............................................................ 882
43 Computational Ethnomusicology: A Study of Flamenco
and Arab-Andalusian Vocal Music
Nadine Kroher, Emilia Gómez, Amin Chaachoo, Mohamed Sordo,
José-Miguel Díaz-Báñez, Francisco Gómez, Joaquin Mora................ 885
43.1 Motivation..................................................... 885
43.2 Background..................................................... 887
43.3 Case Study..................................................... 889
43.4 Conclusion and Future Perspectives............................. 895
43.5 Complementary Material......................................... 896
References......................................................... 896
44 The Relation Between Music Technology and Music Industry
Alexander Lerch...................................................... 899
44.1 Recording and Performance...................................... 901
44.2 Music Creation................................................. 903
44.3 Music Distribution and Consumption............................. 906
44.4 Conclusion..................................................... 907
References........................................................... 908
45 Enabling Interactive and Interoperable
Semantic Music Applications
Jesús Corral García, Panos Kudumakis, Isabel Barbancho,
Lorenzo J. Tardón, Mark Sandler...................................... 911
45.1 IMAF Standard.................................................. 912
45.2 Implementation of the IM AF Encoder............................ 913
45.3 IM AF in Sonic Visualiser...................................... 917
45.4 Future Developments and Conclusions............................ 920
References........................................................... 920
46 Digital Sensing of Musical Instruments
Peter Driessen, George Tzanetakis.................................... 923
46.1 Digital Music Instruments...................................... 923
46.2 Elements of a Hyperinstrument.................................. 924
46.3 Acoustic Instrument............................................ 924
46.4 Hyperinstrument................................................ 925
46.5 Direct Sensors................................................. 925
46.6 Indirect or Surrogate Sensors.................................. 927
46.7 Instrument Case Studies........................................ 928
46.8 Application Case Studies....................................... 930
46.9 Conclusions.................................................... 932
References........................................................... 932
Part G Music Ethnology
47 Interaction Between Systematic Musicology
and Research on Traditional Music
Jukka Louhivuori..................................................... 939
47.1 Background..................................................... 939
47.2 Folk/Traditional Music Research................................ 940
47.3 Comparative Musicology......................................... 941
Contents
XXVII
47.4 Cognitive Approaches - Cross-Cultural Music Cognition
and Cognitive Ethnomusicology.................................. 941
47.5 Anthropology of Music - Ethnomusicology - Cultural Musicology.. 943
47.6 New Trends ................................................. 945
47.7 Function of Ethnomusicology in Systematic Musicology........... 946
47.8 Summary........................................................ 948
References........................................................... 949
48 Analytical Ethnomusicology: How We Got Out of Analysis
and How to Get Back In
Leslie Tilley........................................................ 953
48.1 Ethnomusicology s Analytical Roots............................. 953
48.2 The Mid-Century Pendulum Swing:
The Rise of Anthropology-Based Studies......................... 959
48.3 Analysis in Modern Ethnomusicology............................. 966
References.......................................................... 974
49 Musical Systems of Sub-Saharan Africa
Sim ha Arom.......................................................... 979
References........................................................... 982
50 Music Among Ethnic Minorities in Southeast Asia
Hdkan Lundstrom...................................................... 987
50.1 Singing Manners................................................ 988
50.2 The Sounds of Bamboo and Metal................................. 992
50.3 Music and Village Life......................................... 996
50.4 Village Music and Modern Society............................... 999
50.A Appendix: Recordings.......................................... 1002
References........................................................... 1002
51 Music Archaeology
Ricardo Eichmann..................................................... 1005
51.1 Methods....................................................... 1006
51.2 Research Topics............................................... 1007
51.3 Musical Practice ............................................. 1008
51.4 Music Theory.................................................. 1009
51.5 AncientSounds................................................. 1010
51.6 Conclusion.................................................... 1011
References........................................................... 1012
52 The Complex Dynamics of Improvisation
David Borgo.......................................................... 1017
52.1 The Study of Improvisation.................................... 1017
52.2 The Field of Improvisation Studies............................ 1018
52.3 Challenges in Defining Improvisation.......................... 1018
52.4 Some Contemporary Research Directions......................... 1020
52.5 Referent-Based Improvisation.................................. 1021
52.6 Referent-Free Improvisation................................... 1022
52.7 Final Thoughts................................................ 1024
References........................................................... 1025
XXVIII
Contents
53 Music of Struggle and Protest in the 20th Century
Anthony Seeger........................................................ 1029
53.1 Historical Antecedents of Music of Protest and Struggle
in the United States............................................ 1030
53.2 The Poet Walt Whitman’s Influence on the Image
of the Protest Singer-Songwriter................................ 1031
53.3 Ballad Collectors, Songs of Struggle, and Versions
of the American Identity........................................ 1032
53.A The Vocal Style and Performance Practice of US Protest Music.. 1033
53.5 20th Century Politics and Protest Music......................... 1035
53.6 African-American Musical Traditions and Social Protest.......... 1036
53.7 The Conservative Reaction....................................... 1037
53.8 The Folk Music Revival and The Commercialization of Folk Music... 1038
53.9 Conclusion...................................................... 10A0
References............................................................ 10A1
About the Authors........................................................ 10A3
Detailed Contents........................................................ 1057
Subject Index............................................................ 1079
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| id | DE-604.BV044531550 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T07:55:09Z |
| institution | BVB |
| isbn | 9783662550021 3662550024 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029930829 |
| oclc_num | 1035472431 |
| open_access_boolean | |
| owner | DE-703 DE-11 DE-12 DE-210 DE-19 DE-BY-UBM |
| owner_facet | DE-703 DE-11 DE-12 DE-210 DE-19 DE-BY-UBM |
| physical | XXXIV, 1094 Seiten Diagramme, Illustrationen 27 cm |
| publishDate | 2018 |
| publishDateSearch | 2018 |
| publishDateSort | 2018 |
| publisher | Springer |
| record_format | marc |
| series2 | Springer Handbooks |
| spelling | Springer handbook of systematic musicology Rolf Bader (ed.) Cham Springer [2018] © 2018 XXXIV, 1094 Seiten Diagramme, Illustrationen 27 cm txt rdacontent n rdamedia nc rdacarrier Springer Handbooks Musikpsychologie (DE-588)4127817-3 gnd rswk-swf Musikproduktion (DE-588)4235850-4 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Musikethnologie (DE-588)4127833-1 gnd rswk-swf Systematische Musikwissenschaft (DE-588)4140204-2 gnd rswk-swf Musikphilosophie (DE-588)4123809-6 gnd rswk-swf Music Ethnology Music Psychology Music Theory Music and Media Musical Acoustics Musicology Systematic Musicology TTA (DE-588)4143413-4 Aufsatzsammlung gnd-content Systematische Musikwissenschaft (DE-588)4140204-2 s DE-604 Musiktheorie (DE-588)4040876-0 s Musikpsychologie (DE-588)4127817-3 s Musikphilosophie (DE-588)4123809-6 s Musikproduktion (DE-588)4235850-4 s Musikethnologie (DE-588)4127833-1 s b DE-604 Bader, Rolf 1969- (DE-588)123732530 edt Erscheint auch als Online-Ausgabe 978-3-662-55004-5 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029930829&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Springer handbook of systematic musicology Musikpsychologie (DE-588)4127817-3 gnd Musikproduktion (DE-588)4235850-4 gnd Musiktheorie (DE-588)4040876-0 gnd Musikethnologie (DE-588)4127833-1 gnd Systematische Musikwissenschaft (DE-588)4140204-2 gnd Musikphilosophie (DE-588)4123809-6 gnd |
| subject_GND | (DE-588)4127817-3 (DE-588)4235850-4 (DE-588)4040876-0 (DE-588)4127833-1 (DE-588)4140204-2 (DE-588)4123809-6 (DE-588)4143413-4 |
| title | Springer handbook of systematic musicology |
| title_auth | Springer handbook of systematic musicology |
| title_exact_search | Springer handbook of systematic musicology |
| title_full | Springer handbook of systematic musicology Rolf Bader (ed.) |
| title_fullStr | Springer handbook of systematic musicology Rolf Bader (ed.) |
| title_full_unstemmed | Springer handbook of systematic musicology Rolf Bader (ed.) |
| title_short | Springer handbook of systematic musicology |
| title_sort | springer handbook of systematic musicology |
| topic | Musikpsychologie (DE-588)4127817-3 gnd Musikproduktion (DE-588)4235850-4 gnd Musiktheorie (DE-588)4040876-0 gnd Musikethnologie (DE-588)4127833-1 gnd Systematische Musikwissenschaft (DE-588)4140204-2 gnd Musikphilosophie (DE-588)4123809-6 gnd |
| topic_facet | Musikpsychologie Musikproduktion Musiktheorie Musikethnologie Systematische Musikwissenschaft Musikphilosophie Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029930829&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT baderrolf springerhandbookofsystematicmusicology |