Примери за cross-media

• In cross-media listening visual musical works are considered within a broader instructional framework.

• I begin by referring to the broader musicological context of cross-media listening and provide a working definition of a visual musical work.

• With cross-media listening, a particular kind of (filmic) description or explanation is already 'built in' to the visual musical works selected for study.

• Grounded in sound pedagogical principles and expounded through a series of analyses, cross-media listening advocates a reintegrated, multi-domain approach to encountering music in educational settings.

• Environmental impacts have to be assessed from an integrated, cross-media perspective.

• Similarly, cross-media issues were considered as a very complex and methodologically unresolved issue.

• Secondly, there are cross-media impacts, which means that the impact of the techniques on all three interrelated environmental media, water, air and land should be considered.

• I then turn to a detailed discussion of specific visual musical works as employed in actual cross-media listening and trialled in my own recent secondary and tertiary teaching.

• I see no justification whatsoever in the cross-media ownership controls relating to newspapers and satellites.

• The amendments address a serious loophole in the safeguards against excessive cross-media control.

• The proposals on cross-media ownership need close examination.

• That is why it is important that there should be effective powers and regulations on cross-media ownership.

• In advocating lifting one restriction on cross-media ownership, it is important to spell out why we believe that this is such an important issue.

• The same could be said for relaxing cross-media ownership with respect to radio and local newspapers.

• He raised many issues in detail, particularly religious broadcasting and cross-media ownership.