Relevant bibliographies by topics / Media music / Dissertations / Theses

Dissertations / Theses on the topic 'Media music'

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Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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1

Fucay, Monthedoro Edith Elizabeth, Hoyos Sadith Rosana Manrique, Cachuan Anne Katherine Rodriguez, and Noriega Edgar Verástegui. "Estudio de música Visual Music Media." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626263.

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El presente proyecto sobre el estudio de grabación, nos muestra la viabilidad de la ejecución, basándonos en una investigación y validación de mercado que se realizó en la ciudad de Lima Metropolitana a personas del NSE B, C y D, que nos permitió identificar una demanda insatisfecha debido a la falta de oportunidades de poder demostrar su talento musical, en un estudio de música implementado con un nivel profesional, con instrumentos y equipos profesionales y que, además, les ofrezcan oportunidades de presentaciones en eventos. Actualmente, las personas interesadas en el arte de la música buscan estudios en donde puedan mejorar o perfeccionar su talento, y se preocupan por encontrar un lugar que les ofrezcan todas las alternativas posibles, y considerando que hoy en día hay una gran tendencia, vemos que hay una oportunidad de negocio para poder atender esta necesidad. Para la puesta en marcha de este estudio de música, se requerirá una inversión inicial de S/231,815 soles, financiado en un 40% con la aportación de un inversionista y un 60% con los aportes de los accionistas. La inversión que realizarán los accionistas (60%) se estima recuperar en 5.77 años de la operación. El proyecto resulta viable porque cumple las expectativas de los inversionistas y accionistas al tener una TIRE (61.31%) superior al WACC (15.84%), y para el accionista de un COK de 17% obteniendo un TIRF de 56.00%. anual.
This project on the recording studio shows us the feasibility of the execution, based on a market research and validation that was carried out in the city of Lima Metropolitana to people of NSE B, C and D, which allowed us to identify a demand dissatisfied due to the lack of opportunities to demonstrate their musical talent, in a music studio implemented with a professional level, with professional instruments and teams and that also offer them opportunities for presentations at events. Today, people interested in the art of music look for studies where they can improve or perfect their talent, and they worry about finding a place that offers them all the possible alternatives, and considering that today there is a great trend, we see that there is a business opportunity to meet this need. For the start-up of this music studio, an initial investment of S/231,815 soles will be required, financed by 40% with the contribution of an investor and 60% with the contributions of the shareholders. The investment that shareholders will make (60%) it is estimated to recover within 5.77 years of the operation. The project is viable because it meets the expectations of investors and shareholders by having a TIRE (61.31%) WACC (15.84%), and for the shareholder of a COK of 17% obtaining a TIRF of 56.00%. per year.
Trabajo de investigación
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2

Hui, Viny Wan-Fong. "Music preferences, music and non-music media use, and leisure involvement of Hong Kong adolescents." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/hui%5Fviny/index.htm.

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3

Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.

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This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.
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Franaszczuk, Monika Cecilia. "Chopin Onscreen: Media Representations of Frederic Chopin." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1531241114714343.

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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction." Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 103-112).
Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.
by Mihir Sarkar.
Ph.D.
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6

Acee, Dana F. "Women in Sha'bi Music: Globalization, Mass Media and Popular Music in the Arab World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1321368508.

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7

Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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8

Aav, Sebastian. "Adaptive Music System for DirectSound." Thesis, Linköping University, Department of Science and Technology, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-6092.

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With the intention of surveying the field of research in adaptive audio systems for interactive media, a suggested audio system design for adaptive music control is described, and a prototype implementation of key parts of the system is presented and evaluated.

Foregoing midi-triggered sound banks, the proposed design uses layered segmented audio files, defined and controlled by XML-scripts. The results demonstrate an inclination of a flexible system, capable of adequate adaptive behaviour of high quality sound.

The implemented system will serve as an extensive basis for future work contributing to the research of adaptive behaviour to both music and sound effects for interactive media, and also as a preliminary foray into the more experimental field of stand-alone non-linear music playback.

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Grove, Benjamin J. "Cruise/Control for Wind Ensemble and Fixed Electronic Media." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524481623531767.

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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.

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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Edmonds, Brianna Phylice. "A Study of Animating to Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/504.

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I have always had an interest in musicals. I enjoy the way storytelling can happen through a single musical segment. I have always been interested in how music can set the tone in an instant. Because, of this I decided my thesis would be more of a conceptual one. My vision for my thesis project was to create a sequence that is animated to music and will tell a story through a sequence that is set to music.
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Purdy, Christopher C. "Edward Downes a life in music and the media /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1204660078.

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13

Varriale, Simone. "Cosmopolitan expertise : music, media and cultural identities in Italy." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/63883/.

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My thesis explores the extent to which people's nationality informs their engagement with popular culture and strategies of social distinction (Bourdieu 1984). I address this question by studying the emergence of popular music criticism as a new cultural sector in Italy, and more specifically the practices of critics working during the 1970s. Drawing on Bourdieu's field theory (1996), and combining archival research, social history and discourse analysis, the thesis explores the different dimensions of criticism as a social practice. On the one hand, it analyses the social biography of critics and the boundaries of music criticism as a cultural field; especially as regards class, gender and place. On the other hand, it studies the way critics evaluated different forms of Anglo-American popular music – such as rock, jazz and soul – and how their aesthetic claims and distinctions were received by their audience. The thesis argues that the social trajectory of critics shaped the way they distinguished themselves from national culture and, as a result, their cosmopolitan critique of Italian cultural and political institutions. Furthermore, the thesis argues that the social diversity of critics' audience, and their active contestation of critics' claims, made the music press a space for reflexivity about the inequalities shaping both the field and Italian youth culture. From a theoretical point of view, the thesis expands Bourdieu's field theory taking into account: a) the effects of global forces on the construction of national cultural fields; b) the impact of aesthetic experiences on the habitus (Bourdieu 1984) and practices of cultural producers; c) the forms of reflexivity and critique enabled by specific fields of practice. The thesis provides an original contribution to the study of media, music cultures, taste and cultural production.
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RAY, OLIVIA SUNDIATA. "SEXUAL VIOLENCE IN POPULAR RAP MUSIC AND OTHER MEDIA." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/618766.

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This paper examines the prevalence of sexual violence in American media with particular focus on attitudes of sexual violence as a contribution to rape culture. Included is a content analysis of the prevalence of sexually violent lyrics in popular rap music, and a literature review of articles and studies on the effects of sexually violent media. The media discussed in the literature review includes films, television, and pornography. The relationship between the presence of sexually violent media and its impact on public opinion on sexual assault and rape proclivity are analyzed. The literature reviewed includes studies on differences in response to sexually violent media based on gender. Also included are explanation and summary of a study utilizing the excitation transfer theory and the social learning theory as they apply to the understanding of the perpetuation of rape myth acceptance based in the viewing of sexually violent media. These studies utilize the rape myth acceptance scale, the acceptance of interpersonal violence scale, and the adversarial sexual beliefs scale, among other scales of measurement to assess rape myth acceptance and rape proclivity. The high prevalence of sexual assault in the United States calls for an analysis of the acceptance of beliefs that perpetuate sexual assault and the media which support and increase the presence of these beliefs.
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15

Chan-Hellemeier, Malin. "Alternative Ways of Music Branding." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-293345.

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Music branding is not a new phenomenon in marketing, and it is not uncommon that companies brand themselves through means such as jingles, audio logotypes and the use of music in commercials. The digitalization of music has affected the way people listen to music, but it has also given brands the potential to brand themselves through music in other ways than those mentioned above. The aim of this study is to investigate and identify how music branding in alternative ways on digital platforms can build value for brands in the fashion industry. A literature study was conducted in the first part of this study, followed by a multiple-case study of the fashion companies Burberry and Converse and their respective digital platforms Burberry Acoustic and Converse Rubber Tracks. The findings indicate that the alternative music branding analyzed in this case study is successful and that it has led to both brands having a deeper emotional connection with their consumers. Having identified their respective target groups, they have managed to adjust their ways of alternative music branding to the needs of their customers.
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16

Wang, Qian (Qian Janice). "Music, mind, and mouth : exploring the interaction between music and flavor perception." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/91820.

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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2013.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 119-126).
This thesis presents a study of how hearing and taste can influence each other, how this interaction can be measured, and how the results can be used to design new, powerful, immersive experiences. The goal of the thesis is to address two questions: does music significantly change flavor perception, and can music change the hedonic experience of a meal? Experimentally, I looked at ways to measure changes in sensory perception. Artistically, I explored how external factors can alter the eating experience. From a cultural perspective, I examined the history of multisensory experiences - in feasts, in everyday cooking, and in community rituals. I conducted a series of experiments to measure the effect of music on flavor perception, and designed a series of novel eating experiences that make use of congruencies between multiple senses, culminating in a multisensory feast for the Media Lab. From these studies, design patterns and challenges are extracted and analyzed, and new directions are discussed.
by Qian (Janice) Wang.
S.M.
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17

Andrésson, Charlotta. "Music Television : en TV-kanals förändring i ett nytt medieklimat." Thesis, Uppsala University, Media and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-106760.

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Purpose/Aim: The purpose of this essay is to analyze and discuss how MTV is affected by the development that takes place on the world’s media market. The aim is also to see how MTV’s target group’s image of the channel can give guidelines in how MTV should act in this new media era.

Material/method: I have examined the development on the media market and then created a model consisting of relevant factors that could affect a TV-channel today. Those factors and the two factors image and profile are then applied on MTV. I have done three interviews with people who work at MTV Networks Nordic and one interview with a person who used to work there. I also arranged three focus groups with members within the target group of MTV (15-24 year). The questions for all of the interviews were based on theories relevant to this study.

Main results: The results from the interviews and the focus groups showed that the profile and the image of MTV did not agree completely. An example of that is that the staffs of MTV saw the channel as a youth channel while the target group saw it as a music channel. MTV seems to go from being a niche channel to becoming a broader channel, a move that is quite unusual on today’s media market where niche marketing is the main strategy for TV-channels. People within the target group 15-24 uses the Internet more than TV an average day, and the younger members of my focus groups used the Internet more than the older ones. None of the members of the target group watched TV on their mobile phone but they assumed that younger kids would use it a lot in the future. All agreed upon that MTV was a suitable channel for mobile-TV.

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18

Jehan, Tristan 1974. "Creating music by listening." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/42172.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.
Includes bibliographical references (p. 127-139).
Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.
by Tristan Jehan.
Ph.D.
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19

Zoulek, Nick. "Analyzing the Intersections of Saxophone and Digital Media Through Media Theory." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1562771812450533.

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20

Wendel, Evan Landon. "New potentials for "independent" music : social networks, old and new, and the ongoing struggles to reshape the music industry." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/43197.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2008.
Includes bibliographical references (p. 105-111).
This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post-punk era as an offline social network. This develops a useful framework for then considering the similar and distinctive ways in which contemporary independent practices are enabled and/or shaped by online social networks. Analysis is based on close, comparative readings of the structures and affordances of two case studies: the UK-based Rough Trade record label (1978 - 1991) and MySpace (2003 - present). Numerous examples of artists and their practices are drawn upon to illustrate how discursive meanings of independence are negotiated within each network. Investigated are potentials for realizing not only autonomy from the mainstream music industry, but also a range of other post-punk ideals tied to a broader independent ethos concerned with issues of access and participation, artistic control and freedom, as well as desires to engender more diverse music cultures. The intersection of offline and online networks in the context of today's dynamic, transitional music industry further provides new opportunities for more meaningful artist-to-artist, artist-to-fan, and artist-to-company/label interactions. By emphasizing the centrality of social networks, conceptions of autonomous, "do-it-yourself" music making are problematized in favor of "do-it-together" understandings that foreground cooperation.
by Evan Landon Wendel.
S.M.
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Thaxton, Amber E. "The scarlet "C" media portrayal of the Christian music industry /." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3246.

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Meeker, Jonathon. "Media Coverage of Music Education: How One Local Newspaper Reports on Music in the Public Schools." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1330275931.

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23

Farrugia, Rebekah L. "Spin-sters women, new media technologies and electronic/dance music /." Diss., University of Iowa, 2004. http://ir.uiowa.edu/etd/112.

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Herber, Norbert F. "Amergent music : behavior and becoming in technoetic & media arts." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/2612.

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Technoetic and media arts are environments of mediated interaction and emergence, where meaning is negotiated by individuals through a personal examination and experience—or becoming—within the mediated space. This thesis examines these environments from a musical perspective and considers how sound functions as an analog to this becoming. Five distinct, original musical works explore the possibilities as to how the emergent dynamics of mediated, interactive exchange can be leveraged towards the construction of musical sound. In the context of this research, becoming can be understood relative to Henri Bergson’s description of the appearance of reality—something that is making or unmaking but is never made. Music conceived of a linear model is essentially fixed in time. It is unable to recognize or respond to the becoming of interactive exchange, which is marked by frequent and unpredictable transformation. This research abandons linear musical approaches and looks to generative music as a way to reconcile the dynamics of mediated interaction with a musical listening experience. The specifics of this relationship are conceptualized in the structaural coupling model, which borrows from Maturana & Varela’s “structural coupling.” The person interacting and the generative musical system are compared to autopoietic unities, with each responding to mutual perturbations while maintaining independence and autonomy. Musical autonomy is sustained through generative techniques and organized within a psychogeographical framework. In the way that cities invite use and communicate boundaries, the individual sounds of a musical work create an aural context that is legible to the listener, rendering the consequences or implications of any choice audible. This arrangement of sound, as it relates to human presence in a technoetic environment, challenges many existing assumptions, including the idea “the sound changes.” Change can be viewed as a movement predicated by behavior. Amergent music is brought forth through kinds of change or sonic movement more robustly explored as a dimension of musical behavior. Listeners hear change, but it is the result of behavior that arises from within an autonomous musical system relative to the perturbations sensed within its environment. Amergence propagates through the effects of emergent dynamics coupled to the affective experience of continuous sonic transformation.
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Dugan, Brett M. "Effective Uses of Social Media Marketing in the Music Industry." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308958604.

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Solís, García Hugo 1976. "Improvisatory music and painting interface." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28766.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.
Includes bibliographical references (p. 101-104).
(cont.) theoretical section is accompanied by descriptions of historic and contemporary works that have influenced IMPI.
Shaping collective free improvisations in order to obtain solid and succinct works with surprising and synchronized events is not an easy task. This thesis is a proposal towards that goal. It presents the theoretical, philosophical and technical framework of the Improvisatory Music and Painting Interface (IMPI) system: a new computer program for the creation of audiovisual improvisations performed in real time by ensembles of acoustic musicians. The coordination of these improvisations is obtained using a graphical language. This language is employed by one "conductor" in order to generate musical scores and abstract visual animations in real time. Doodling on a digital tablet following the syntax of the language allows both the creation of musical material with different levels of improvisatory participation from the ensemble and also the manipulation of the projected graphics in coordination with the music. The generated musical information is displayed in several formats on multiple computer screens that members of the ensemble play from. The digital graphics are also projected on a screen to be seen by an audience. This system is intended for a non-tonal, non-rhythmic, and texture-oriented musical style, which means that strong emphasis is put on the control of timbral qualities and continuum transitions. One of the main goals of the system is the translation of planned compositional elements (such as precise structure and synchronization between instruments) into the improvisatory domain. The graphics that IMPI generates are organic, fluid, vivid, dynamic, and unified with the music. The concept of controlled improvisation as well as the paradigm of the relationships between acoustic and visual material are both analyzed from an aesthetic point of view. The
Hugo Solís García.
S.M.
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Whitman, Brian A. (Brian Alexander). "Learning the meaning of music." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32500.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.
Includes bibliographical references (p. 99-104).
Expression as complex and personal as music is not adequately represented by the signal alone. We define and model meaning in music as the mapping between the acoustic signal and its contextual interpretation - the 'community metadata' based on popularity, description and personal reaction, collected from reviews, usage, and discussion. In this thesis we present a framework for capturing community metadata from free text sources, audio representations general enough to work across domains of music, and a machine learning framework for learning the relationship between the music signals and the contextual reaction iteratively at a large scale. Our work is evaluated and applied as semantic basis functions - meaning classifiers that are used to maximize semantic content in a perceptual signal. This process improves upon statistical methods of rank reduction as it aims to model a community's reaction to perception instead of relationships found in the signal alone. We show increased accuracy of common music retrieval tasks with audio projected through semantic basis functions. We also evaluate our models in a 'query-by-description' task for music, where we predict description and community interpretation of audio. These unbiased learning approaches show superior accuracy in music and multimedia intelligence tasks such as similarity, classification and recommendation.
by Brian A. Whitman.
Ph.D.
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Sweet, Eli. "Bullet on the charts beef, the media industry and rap music in America /." Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/1123.

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Manzo, Daniel Vito. "Using Interactive Media As An Educational Alternative To Traditional Music Instruction." Digital WPI, 2015. https://digitalcommons.wpi.edu/etd-theses/1121.

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"Video games are more popular now than they have ever been, and the video game industry is on the verge of hitting its Golden Age (Diver, 2015). In 2015 alone, the video game industry is predicted to reach $91 billion in sales revenue (Nunnely, 2015). Video games have become a key element in today’s youth culture (Seel, 2001; Aarsand, 2007; Gee, 2007). With such a successful and culturally relevant medium at their disposal, pedagogues can use this form of entertainment as a gateway medium for educational instruction. This paper describes the progressive integration of technology in music education as well as the implications of using a non-traditional method of educational instruction through a video game. Focusing specifically on the instruction of music theory, several methods of instruction are examined. Past studies using video games as a medium to convey instruction are further examined. The development of an educational music theory video game is explored along with several development tools in its design. A randomized controlled trial was conducted in an undergraduate classroom where participants completed a series of activities using either the music theory video game prototype or a simulated method book application. The data suggests a significant improvement in each skill topic when using the video game and compares similarly to the simulated method book application."
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Boulanger, Adam. "Autism, new music technologies and cognition." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37390.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.
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Includes bibliographical references (p. 99-107).
Central coherence accounts of autism have shown dysfunction in the processing of local versus global information that may be the source of symptoms in social behavior, communication and repetitive behavior. An application was developed to measure cognitive abilities in central coherence tasks as part of a music composition task. The application was evaluated in collaboration with the Spotlight Program, an interdisciplinary social pragmatics program for children with Asperger's syndrome. This research indicates that it is possible to embed cognitive measure as part of a novel music application. Implications for current treatment interventions, and longitudinal experimentation designs are presented.
by Adam Boulanger.
S.M.
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White, Rachel Frances. "British indie music in the 1990s : public spheres, media and exclusion." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435501.

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Developing existing theories of public and counterpublic spheres, this thesis moves beyond theoretical ideals to formulate a working model of the cultural counterpublic sphere in which British indie music is understood, legitimated and ascribed value. This 'indie public' is then interrogated with the central aim of understanding the continued discrepancy in levels of male and female participation in British indie music at every level during the 1990s. Given the centrality of the media to contemporary, geographically dispersed publics it is through a discursive analysis of the British music press, particularly the NME and the Melody Maker, that the masculine constitution of the indie public is revealed. The music press is viewed as not just representing or reflecting the indie scene, but as central to its construction as a genre and the discursive production of privileged subject positions therein. The empirical research analyses how discourses of gender, and to a lesser extent race, class and sexuality, inform the key themes and concepts through which the music press both constructs and evaluates artists and audiences in the indie public. The bulk of the analysis focuses the extended coverage of four prominent 90s' indie bands; Suede, Elastica, Oasis, and Echobelly. The findings are presented thematically in four main areas; the construction of authenticity and 'the artist', the construction of stars and the bases of their appeal, the importance of British national identity during the 'Britpop' era of the mid-1990s and the production of fans and audiences in the indie public. The research proposes that these themes are interlinked, intrinsically gendered and productive of a profoundly male homosocial sphere from which women are largely excluded.
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Mireault, Julie. "No slaughter without laughter?: music and genres in Japanese popular media." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119649.

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In an increasingly connected world, fans of Japanese popular culture take full advantage of a system that already emphasizes links between works and media. In order to reflect this highly intertwined field, the present thesis compares two works from the same franchise, Higurashi no Naku Koro ni, a story mixing school-life drama with mystery and horror. The first chapter deals with the earliest instalment of Higurashi, a video game belonging to the visual novel genre. As visual novels are still not very common outside Japan, the chapter introduces their characteristics, as well as Higurashi's stand within the genre. The discussion concentrates on how visual novels seem to have maintained as part of their generic code some characteristics which Western histories of video games and video game music associate with early video games. A particular focus will be put on the idea of repetition, both in the game's narrative structure and music.The second chapter presents the results of a side-by-side analysis of the music in the video game and its anime adaptation in order to better understand what exactly are the similarities and the differences between the two installments' use of music, and how it affects the experience of the player or viewer. The discussion focuses on the question of rhythm and its far-reaching influence on the installments' generic diversity.
Dans un monde de plus en plus interconnecté, les amateurs de culture populaire japonaise profitent d'un système qui lui-même met l'emphase sur les liens entre différents produits et média. Pour bien refléter cette toile médiatique, la présente recherche porte sur un jeu vidéo et une série animée provenant de la même franchise, Higurashi no Naku Koro ni, une histoire qui mêle vie étudiante, mystère et horreur. Le premier chapitre traite du jeu vidéo original, qui fait partie d'un genre appelé « visual novel ». Comme il s'agit encore d'un genre encore peu connu hors du Japon, le chapitre commence par une introduction du genre, pour en arriver à mieux comprendre les spécificités de Higurashi en tant que visual novel. Il sera notamment question de la place des visual novel dans le tracé habituel de l'histoire de la musique dans les jeux vidéos, avec une emphase particulière sur le thème de la répétition . Le deuxième chapitre présente les résultats d'une analyse côte-à-côte de la trame sonore du jeu vidéo et de l'animé. Elle a pour objectif de mieux comprendre les approches musicales respectives dans les deux média, et leurs effets sur le joueur ou le spectateur. La discussion s'articulera autour de la question du rythme, qui aura un impact important sur la diversité générique de chaque version de l'histoire.
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Olsson, Johanna. "Media use in the english classroom." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28456.

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34

Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.

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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Morgan, Letisha Yvonne. "Representing blackness : MOVE, the media, and the city of Philadelphia." Thesis, University of Warwick, 2004. http://wrap.warwick.ac.uk/78794/.

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In recent decades, black American political scholars have addressed the absence of trans formative societal change in the wake of the Civil Rights Movement. The civil rights initiatives of the 1960s and 1970s pledged racial equality and economic redistribution resulting from equitable, formal, political participation. For many, this promise remains unfulfilled. This thesis asserts that part of the problematic relates to a lack oftheorisation regarding differentiation within the black 'community.' Specifically, it is concerned with a group of black activists in Philadelphia, Pennsylvania called MOVE, and the manner in which its emergence complicated a unitary conception of black community in the 1980s. Formed on the cusp of the Reagan revolution, which signalled a retrenchment of civil rights initiatives nationally, combined with the election of a new cadre of black politicians at the municipallevel-incIuding Philadelphia, MOVE signifies the tenuous position in which these politicians found themselves during the Reagan era. Thus, Philadelphia's first black American mayor, W. Wilson Goode, occupies a central role in understanding the conflicting demands with which this new crop of municipal officials had to contend during this politically volatile time period. Disabled from the task of simply performing their required duties, these men and women were the most accessible representatives of America's 'black community,' and thus embodied the most positive as well as the most negative aspects of the black American population. Therefore, their job description implicitly referenced their capacity to juggle the demands of being black in America. This thesis will also investigate MOVE's representation in the print news media, as it received extensive coverage in the Philadelphia press. Through an analysis of three separate, local newspapers, this study attends to the racialised discourses characterising the group, thereby revealing a state of general anxiety regarding the place of blacks in American society. In this, a consideration of the media's impact upon Mayor Wilson Goode's career becomes a necessity, as the public's perception of his political suitability became inextricably linked with the fate of the MOVE members. Therefore, I attempt to determine how MOVE became 'news,' and in tum, how the group and officials in Philadelphia's city administration succeeded in mobilising the media as a resource for their own ends. Considering MOVE's informal political strategies in tandem with the bureaucracy of formal municipal politics presents an opportunity to address the limitations of both electoral and cultural politics for the black population generally, as well as the persistent problem of political 'representation' within this context. This thesis contributes to knowledge in black American cultural and electoral politics; social movements; the 'Sociology of the Negro' sub-discipline; the media and its role in conceptualising and coping with racial difference; and theories of blackness, liberalism and multiculturalism.
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Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.

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Many music composition algorithms attempt to compose music in a particular style. The resulting music is often impressive and indistinguishable from the style of the training data, but it tends to lack significant innovation. In an effort to increase innovation in the selection of pitches and rhythms, we present a system that discovers musical motifs by coupling machine learning techniques with an inspirational component. The inspirational component allows for the discovery of musical motifs that are unlikely to be produced by a generative model, while the machine learning component harnesses innovation. Candidate motifs are extracted from non-musical media such as images and audio. Machine learning algorithms select the motifs that best comply with patterns learned from training data. This process is validated by extracting motifs from real music scores, identifying themes in the piece according to a theme database, and measuring the probability of discovering thematic motifs verses non-thematic motifs. We examine the information content of the discovered motifs by comparing the entropy of the discovered motifs, candidate motifs, and training data. We measure innovation by comparing the probability of the training data and the probability of the discovered motifs given the model. We also compare the probabilities of media-inspired motifs with random motifs and find that media inspiration is more efficient than random generation.
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Rambarran, Sharadai Devi Amparo. "Innovations in contemporary popular music and digital media, and reconstructions of the music industry in the 21st century." Thesis, University of Salford, 2010. http://usir.salford.ac.uk/26874/.

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The thesis investigates how certain types of contemporary popular music have played a prominent role in digital media, aided by ICTs (Internet, digital music distribution, consumption), music technology (sampling, remix, MP3) and creative artistic technology (music video, performance, virtual groups). As these technologies lie behind many innovations in popular music over the last decade, the focus, here, is on specific artists and producers who have successfully employed such technologies to compose music, and whose reception has been mixed in terms of the reaction from the industry and consumers. The dissertation, therefore, contains case studies of Danger Mouse, Gnarls Barkley and Gorillaz. The following all gained recognition from new media rather than the traditional radio plug: The Grey Album, the experimental and illegal mash-up of the Beatles and Jay-Z by Danger Mouse; 'Crazy' by Gnarls Barkley, which gained interest following a television advertisement; and Gorillaz, a virtual group, created by Damon Albarn of Blur. These projects were composed of a fusion of musical styles and visuals, and were made possible by digital technology. To understand the logic behind these projects, it is important to explore the contributions that assisted the success of the musicians in question. The cultural-social context of the music is analysed and theorized: the music and the performer (involving postmodern features such as authorship and genre-blending); its impact on the music industry (copyright, digital consumption); and the reception of the audience (digital music consumption, distribution technologies, activism). This thesis argues that the internal and external aspects of the compositions and arrangements by Danger Mouse, Gnarls Barkley and Gorillaz constitute innovative examples of contemporary popular music facilitated by digital media, and that this helped to reconstruct the music industry in the twenty-first century.
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Besic, Edvin, and Maré Daniel de. "Survival of the Fittest : Appealing qualities of services for downloadable music." Thesis, Karlstad University, Faculty of Economic Sciences, Communication and IT, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-256.

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Internet är idag en naturlig del av större delen av den svenska befolkningens vardag. I och med detta har allt fler tillgång till och konsumerar allt mer medier i olika former. Musikindustrin hävdar samtidigt att de förlorar allt mer pengar vilket motiveras med den ökade piratkopieringen. Detta är en kvalitativ studie ur användarnas perspektiv där syftet är att ta reda på hur musikindustrin kan göra sina lagliga tjänster för nedladdning av musik mer attraktiva för konsumenterna. Vi undersöker således potentiella kunders erfarenheter och attityder till dessa tjänster. Detta görs genom intervjuer utifrån frågeställningen ”Vad skulle göra en tjänst för nedladdningsbar musik mer attraktiv för konsumenterna.”.

Efter att ha genomfört en analys av det insamlade materialet har vi funnit ett antal tendenser bland respondenterna. Dessa säger något om hur de använder Internet för att hitta musik idag och vad de har för tankar kring framtida tjänster för nedladdning av musik. De mest avgörande faktorerna är enligt respondenterna prissättning, användbarhet och utbud. De anser alltså att priserna på nedladdningsbar musik är för höga och att det högsta rimliga priset skulle vara 2-3 kronor per musikstycke. Samtliga respondenter tycker dock att nedladdningsbar musik ska vara gratis. En framtida tjänst måste vara enkel att använda och utbudet måste vara stort nog för att användarna inte ska behöva alternativa källor för att hitta den musik de letar efter.


Today, the Internet is a natural part of the majority of the Swedish population’s everyday life. This fact has led to an increase in the number of people having access to, and consuming media in different forms. At the same time, the music industry is claiming a loss of profit, which is ascribed to the increasing music piracy. This is a qualitative study from the users’ perspective, where the objective is to find out how the music industry can make their legal services for downloadable music more attractive for the consumers. We are looking at the experiences of potential customers and what attitudes they have towards these kinds of services. Our primary question is “What would make a service for downloadable music more attractive for the consumers?”.

After completing the analysis of the collected data, we found a number of tendencies among the respondents. The tendecies portray the way internet is used by the respondents to find music, and what they think a future service for downloadable music should be like. The strongest factors according to the respondents are price, usability and product range. The common feeling is that the price for downloadable music is too high, and that the highest price for a song should be about 2-3 Swedish kronor. All of our respondents, however, feel that music should be free by some means. A future service for downloadable music should be easy to use and the product range must be extensive enough to satisfy its customer’s needs.

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Redhead, Tracy. "Interactive music formats : will audiences interact?" Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/80881/4/Tracy_Redhead_Thesis.pdf.

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The purpose of this research was to conduct a pilot study of a prototype interactive music release format which sought to investigate the readiness of audiences to interact with an interactive alternative to a fixed recorded work. A prototype music interface was created for testing. The prototype was then tested on a sample of users to understand what factors might be critical to audience engagement. The research further investigated the potential implications of the interactive release format on musicians' creative process.
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Karre, Ross Patrick. "The media frame the theory and practice of integrating a variety of production protocol in modern experimental temporal art /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3369521.

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Thesis (D.M.A.)--University of California, San Diego, 2009.
Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 45-46.
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41

Tang, Charles Wei-Ting. "Live interactive music performance through the Internet." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/62625.

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42

Lillie, Anita Shen. "MusicBox : navigating the space of your music." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/46583.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.
Includes bibliographical references (p. 121-124).
Navigating increasingly large personal music libraries is commonplace. Yet most music browsers do not enable their users to explore their collections in a guided and manipulable fashion, often requiring them to have a specific target in mind. MusicBox is a new music browser that provides this interactive control by mapping a music collection into a two-dimensional space, applying principal components analysis (PCA) to a combination of contextual and content-based features of each of the musical tracks. The resulting map shows similar songs close together and dissimilar songs farther apart. MusicBox is fully interactive and highly flexible: users can add and remove features from the included feature list, with PCA recomputed on the fly to remap the data. MusicBox is also extensible; we invite other music researchers to contribute features to its PCA engine. A small user study has shown that MusicBox helps users to find music in their libraries, to discover new music, and to challenge their assumptions about relationships between types of music.
by Anita Shen Lillie.
S.M.
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43

Scheirer, Eric David. "Extracting expressive performance information from recorded music." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29103.

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44

Louthander, Anton. "Perceived Audio Quality In Popular Music Encoded To MP3 And Opus." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74190.

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For storage restriction purposes, audio streaming services often rely on lossy compression formats as files used for playback. In 2018, the audio streaming giant SoundCloud went from using 128 kbps MP3 files to 64 kbps Opus files, and shortly after this was unveiled, music press and users of the service claimed it to be an audio quality impairment. To investigate the reliability in these claims, listening tests using popular songs were performed, having 17 trained listeners assessing perceptual audio quality in 128 kbps MP3 and 64 kbps Opus compared to 44.1 kHz, 24 bit WAV files. When counting scores of all used audio stimuli combined, results showed MP3 outperforming Opus with statistical significance.
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45

Oesterle, Ulf. "Organizational influence on recorded music a look at the independents /." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1354131191&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.

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46

Johnson, Jennifer Rosemary. "MAKANDA BALLADS: MEDIA PRACTICES IN RURAL AMERICA." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2111.

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Foundational cultural theorist Antonio Gramsci noted in his theory of cultural hegemony that the subaltern class must develop and document their culture as it exists because this history counters the dominating message of the ruling class. My digitally recorded music album Ballads of Makanda: a Modern Folklore serves this idea through capturing the modern stories of the rural midwestern village of Makanda, Illinois and recreating them through American roots music. Using ethnographic and auto- ethnographic approaches to compose the music, these compositions, lyrically created from written and oral histories of residents and visitors of the village, speak to the identity of the community. It reveals several perspectives addressing untold, unexpected yet culturally significant narratives relating to gender, laws, myths, survival, and legacy. Not only do I address lyrical content, but the use of melody which has historically served as a tool for collective memory. My work explores the culture of small communities and my own experiences within, and synthesizes these stories into artistic practice to culminate into a music performance of the entire album featuring all the musicians, in order to fill in the narrative gaps of the human condition. Ultimately, I have created a cross-platform media, modern folklore to counter the established media representations that exist around small towns claiming they are culturally bereft, nondescript, uneducated, and poverty stricken due to financial irresponsibility. These messages have aided in the rural diaspora of younger generations seeking economic opportunity and culture in urban areas. These false ideas also create a history which informs an identity that people will assume. As a Southern Illinois local and Makanda resident, I see this project as a service to dispel stereotypes and celebrate the small town culture of Makanda. This is an attempt to preserve history and identity, and fill in the narrative gaps in the vernacular of the culture which inherently is an act of resistance from subjugation.
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Anderson, Tonya. "Still kissing their posters goodnight : lifelong pop music fandom." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3325/.

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Narratives about the discovery of one’s favourite artist are popular discussion topics among adult pop music fans, as are narratives of rediscovery later in life, suggesting that memory and nostalgia are powerful forces that can repeatedly draw fans back to that affective moment when they first discovered, and perhaps rediscovered, their idols. The impact of cultural influences like pop music during the formative period of adolescence cannot be underestimated. Such early identifications with pop music icons enable some adolescents to then carry those attachments with them their entire lives, forming lifelong fandoms. Through an ethnographic investigation into one such fan community, adult female fans of ’80s heart throbs Duran Duran, this research focuses on ‘mature’ pop fans in an effort to explore an enduring and lifelong fandom that is deeply communal, entrenched in a worldwide network of other fans. Of particular interest is the way in which fans connect via a hybrid of online and offline interactions, as well as how the resulting interaction mix generates complex dynamics and hierarchies. While this research focuses on Duran fan culture, fans of other teen idols were surveyed for comparative purposes, in particular bands that also experienced a resurgence of success after announcing a ‘reunion’, including Take That and the Backstreet Boys. Parallels are also drawn to the lifelong loyalty expressed by fandoms of other artists who were not teen-pop pinups, such as David Bowie (Stevenson 2009) and R.E.M. (Bennett 2010), whose now ‘post-popular’ music (Hills 2010) has seen continued popularity among cult audiences for almost four decades.
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Brinson, Woodruff Abbie R. "Lady Gaga, Social Media, and Performing an Identity." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1345235126.

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Belcher, James D. "An Examination of the Influence of Individual Differences, Music-Listening Motives, and Music Selection on Post-Listening Music Discussion." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1277155907.

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50

Ditlevsen, Christoffer Moe, and Martin Björkman Čehovin. "Den dramatiska kraften i filmmusik, Filmmusikens dramatiska vikt i modern media." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1917.

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När och varför tillsätter man musik till en scen i ett filmscenario? Med informationsresurser och teorier från etablerade medieteoretiker såsom Michel Chion, Oliver Sacks samt Johnny Wingstedt söker vi svaret. Genom beprövade analysmetoder bryter vi ner kritikerrosade filmer för att finna hur musiken präglat dem. Analyserna har sedan sammanfattats och jämförts för att kärnan av dem skall kunna identifieras. I diskussionen slår vi fast att det finns många verktyg att tillämpa när man vill styrka expressiviteten eller känslointensiteten, och varför man tillsätter musik till film; Att antingen stärka ett budskap som gestaltas i bild, eller inducera känslan av något som inte går att tolka genom endast visuella medel. Dessa resultat använde vi sedan för att skapa ett ramverk inför produktion av musik och ljud till Emil. (2014) , en modern samt mörkare tolkning av Emil I Lönneberga (1971) med en underton av ett dysfunktionellt familjeförhållande. Nyckelord: Musik, dramaturgi, film, känslor, analys, narrativ When and why is music implemented to a specific scene in a film? With informational resources and theories from established media-abstractionists like Michel Chion, Oliver Sacks and Johnny Wingstedt, we’re on a hunt for the ultimate answer. With well proven analytic methods we break down critically acclaimed movies in search of how music has characterized them. The outcome of the analyses has been put together to identify their common dramatic core. In the discussion we state that there are many tools available when one wishes to accentuate the expressionistic and emotional effects of a piece, and why one would use these pieces for film. The reason being that of wishing to emphasize a message or feeling show in picture, or induce a feeling of something not visible on screen. The results were then used for the framework which we work within when producing sound and music material for Emil. (2014), a modern, darker interpretation of Emil I Lönneberga (1971). Keywords: Music, dramaturgy, film, emotions, analysis, narrative
Detta är en reflektionsdel till en digital medieproduktion.
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