Dissertations / Theses on the topic 'Music and technology'
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Barrett, James Edward. "Music technology in school education." Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.
Full textSarkar, 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.
Full textCataloged 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.
Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.
Full textWilliams, Andrew. "The functions of Walkman music /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phw7211.pdf.
Full textEbadi, Solmaz, and Mirja Johansson. "Music File Sharing : Genius Technology or Copyright Infringement?" Thesis, Jönköping University, JIBS, Commercial Law, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7598.
Full textToday’s technology of music file sharing in peer-to-peer networks is genius. Peer-to-peer are networks composed of several computers enabling files to be shared among users. A substantial part of the files shared constitute unlawful copies; uploading and downloading of such files infringes copyright legislation. File sharing through peer-to-peer networks is therefore both a genius technology and a copyright infringement.
Peer-to-peer technology has been subject to heavy debate in media, both nationally and internationally. The issue of illegal downloads of music is an international dilemma since music is a global commodity. Sweden has been accused of being file sharers’ haven by organisations such as the Recording Industry Association of America (RIAA). Internet access and broadband capacity is very high in Sweden, which is a reason why many Swedes engage in file sharing. The Swedish company, The Pirate Bay, is the creator of one of the most popular file sharing websites in the world, using the BitTorrent application. The website offers free downloading of inter alia music, films and software. Like most peer-to-peer networks the Pirate Bay website includes copyrighted material, which often is published without the consent of copyright holders. As a result The Pirate Bay is facing a lawsuit on behalf of numerous organisations and companies in the music and film industry.
The Pirate Bay is accused of contributory infringement and of preparation to commit a copyright infringement according to the Swedish Copyright Act (SwCA). Contrary to the American copyright legislation, the SwCA does not contain any explicit provisions regarding contributory infringement. The SwCA refers to the Swedish Criminal Code, which states that preparation to copyright infringement and contributing to such infringement is illegal and punishable. There is currently a lack of Swedish case law regarding copyright infringement and there are no cases concerning contributory infringement. One reason is that the field of law is constantly changing; the copyright legislation is adjusted to the technological developments. The lack of case law causes unpredictability of the SwCA, which may be harmful to the rule of law. International organisations, such as the RIAA, consider the SwCA to be somewhat ineffective and that it needs to be amended in order to uphold the fundamental purpose of copyright.
Copyright is a partly harmonised area of law from a global perspective. However, since the Internet and file sharing through peer-to-peer networks is an international phenomenon, copyright legislation needs further harmonisation internationally. At the time there is an ongoing process of implementing the European Union (EU) Enforcement Directive into the SwCA, which grants greater rights to copyright holders. The Directive contains provisions that simplify the process of taking action against an alleged infringer, which may in the long run increase the amount of case law in Sweden. At the same time the implementation of the Enforcement Directive has been criticised as being too far reaching and intruding people’s privacy.
File sharing through peer-to-peer networks benefits consumers by offering easy access to a wide range of music for a low cost, at the same time enabling artists to reach out to a larger audience. Consumers are vital for the music industry, since they purchase the music. However, the fundamental aim of copyright is to reward copyright holders and function as an incentive to encourage creativity. Consequently, without economic rights the incentive to create is forfeit and music production might decrease. Even if the justification of copyright is primarily to protect creators of a work, it is also essential to emphasise the consumer aspect. Therefore it is of importance to balance the interests of all parties involved.
In order to uphold the purpose of copyright and interests of the general public, it is necessary to promote and develop more legal file sharing alternatives. Music in digital formats has to some extent replaced the traditional Compact Disc (CD) format. Therefore the music industry must cooperate with among others Internet Service Providers (ISPs) in order to embrace the digital developments of music and offer better solutions to consumers. Simultaneously, there is a lack of knowledge of copyright among the Swedish population, which is why more education is required. In conclusion, advertisement and education could decrease illegal file sharing and enhance all the parties’ interests.
Dagens fildelningsteknologi i peer-to-peer nätverk är genial. Peer-to-peer är nätverk bestående av flera sammankopplade datorer som möjliggör fildelning mellan användare. En betydande mängd av de delade filerna utgör dock olagliga kopior; uppladdning och nedladdning av sådana filer bryter mot upphovsrättslagstiftningen. Fildelning genom peer-to-peer nätverk är därför både genial teknologi och upphovsrättsintrång.
Peer-to-peer teknologin har väckt stor debatt i media, både nationellt och internationellt. Frågan kring illegal nedladdning av musik är ett internationellt dilemma eftersom musik är en global handelsvara. Sverige har kritiserats av organisationer som Recording Industry Association of America (RIAA) för att vara en frizon för fildelare. Tillgången till internet och bredband är väldigt hög i Sverige, vilket är en anledning till varför många svenskar fildelar. Det svenska företaget The Pirate Bay som använder sig av BitTorrent protokollet, är skapare till en av världens populäraste fildelningssajter. Webbsidan erbjuder gratis nedladdning av bland annat musik, film och programvara. I likhet med de flesta peer-to-peer nätverk innehåller The Pirate Bay’s hemsida upphovsrättsskyddat material som ofta har blivit tillgängliggjort utan upphovsrättshavarens medgivande. Till följd av detta har ett flertal organisationer och företag inom musik- och filmindustrin ingett en stämningsansökan mot The Pirate Bay.
The Pirate Bay är åtalade för medhjälp och förberedelse till brott mot upphovsrättslagen. I motsats till den amerikanska lagen om upphovsrätt innehåller inte den svenska upphovsrättslagen några uttryckliga bestämmelser rörande medhjälp till brott mot upphovsrätt. Upphovsrättslagen hänvisar istället till brottsbalken som stadgar att förberedelse och medverkan till brott är olagligt och straffbart. I dagsläget finns endast ett fåtal svenska rättsfall angående upphovsrättsintrång men inga fall kring medhjälp till upphovsrättsintrång. En bidragande faktor kan vara att rättsområdet ständigt ändras; upphovsrättslagstiftningen anpassas kontinuerligt till den tekniska utvecklingen. Bristen på svenska rättsfall leder till att upphovsrättslagens tillämpning blir oförutsägbar, vilket kan vara skadligt för rättsäkerheten. Internationella organisationer som exempelvis RIAA anser att den svenska upphovsrättslagen är ineffektiv och att ändringar behöver göras för att upprätthålla upphovsrättens grundläggande syfte.
Upphovsrätten är till viss del en harmoniserad lagstiftning ur ett globalt perspektiv. Eftersom internet och fildelning genom peer-to-peer nätverk är ett internationellt fenomen behöver upphovsrättslagen ytterligare harmonisering på ett internationellt plan. I dagsläget pågår en implementering av Europeiska Unionens (EU:s) sanktionsdirektiv som tillerkänner större rättigheter till upphovsrättshavare. Direktivet innehåller bestämmelser som förenklar möjligheten för rättighetshavare att vidta åtgärder mot personer som begår upphovsrättsintrång, vilket på sikt kan komma att bidra till en ökad mängd rättsfall. Sanktionsdirektivet har samtidigt kritiserats för att vara alltför långtgående och inskränker människors rätt till privatliv.
Fildelning genom peer-to-peer nätverk är förmånligt för konsumenter genom att utbudet av musik är stort, lättillgängligt och till en låg kostnad; samtidigt ger nätverken artister möjligheten att nå ut till en bredare publik. Konsumenter är nödvändiga för musikindustrin eftersom de inhandlar musiken. Dock är det viktigt att upprätthålla det fundamentala syftet med upphovsrätt, vilket är att ersätta upphovsrättshavaren för sitt verk och fungera som ett incitament till att stimulera skapade. Utan de ekonomiska rättigheterna skulle uppmuntran att skapa nya alster gå förlorad, och musikproduktionen skulle minska. Trots att upphovsrätten rättfärdigas genom att skydda rättighetshavare så är det även angeläget att understryka värdet av konsumenterna. Det är därför av stor vikt att balansera samtliga parters intressen.
Det är nödvändigt att marknadsföra och utveckla fler lagliga fildelningsalternativ för att upprätthålla upphovsrättens syfte och samhällets intresse. Digital musik har till viss del ersatt det traditionella Compact Disc (CD) formatet. Musikindustrin måste därför samarbeta med bland annat internetleverantörer för att ta till sig den digitala utvecklingen av musik och erbjuda bättre lösningar till konsumenter. För närvarade har den svenska befolkningen otillräckliga kunskaper inom upphovsrätt, varför mer utbildning behövs. Avslutningsvis, skulle marknadsföring och utbildning kunna bidra till en minskning av den illegala fildelningen och gynna alla parters intressen.
Ferrer, Damian Llopis. "Technology support for teaching music to kindergarten children." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509681.
Full textKamara, II Kalilu. "Music Artists' Strategies to Generate Revenue Through Technology." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5358.
Full textOleksik, Gerard. "Music in the age of the Internet : an investigation into the relationship between music, music use and technology." Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/718/.
Full textSideris, Nikolaos. "Music technology in contemporary concert hall music : Portfolio of musical compositions and accompanying commentary." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531328.
Full textRege, Karen M. "An examination of music technology requirements for undergraduate performance majors." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Full textPearson, Mark. "Synthesis of organic sounds for electroacoustic music : cellular models and the TAO computer music program." Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/10899/.
Full textMcDonald, Iain. "Playing with technology an approach to composition /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/669/.
Full textMMus. thesis submitted to the Faculty of Arts, Department of Music, University of Glasgow, 2007. Includes bibliographical references. Print version also available.
Mogis, Jay D. "Transparency, technology and trust: Music metrics and cultural distortion." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/199497/1/Jay_Mogis_Thesis.pdf.
Full textCrow, William George. "Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006504/.
Full textLassauniere, Alexandre. "New music technology systems and methods to assist teachers." Thesis, University of Portsmouth, 2003. https://researchportal.port.ac.uk/portal/en/theses/new-music-technology-systems-and-methods-to-assist-teachers(33fbcff2-9cb0-40a9-a976-4812c890f2dd).html.
Full textWorth, Peter. "Technology and ontology in electronic music : Mego 1994-present." Thesis, University of York, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550249.
Full textDixon, Kira Leigh. "Assessment through technology in the choral classroom." Kansas State University, 2013. http://hdl.handle.net/2097/15993.
Full textDepartment of Music
Julie Yu-Oppenheim
Teaching a large performing ensemble class, such as choir, can make it difficult to keep a record of each student’s individual progress. This report will discuss my philosophy of music education along with ways to incorporate technology into student assessment. Technology can most benefit the educational process when it is easy and efficient. Through personal experience, incorporating technology into student assessment can be done in the four different methods explored in this report. These four methods are: integrating practice file submissions through a virtual interface; using Google Docs Surveys for self-reflection; incorporating audio or video recording students for sight-reading tests; and using YouTube for students to post videos for final projects. Each has the potential to both strengthen and organize the way student assessment is completed.
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.
Full textMarland, Thomas Joseph. "COMPOSING SPACE IN MIXED MUSIC." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18006.
Full textMiller, Eric R. "The Influence of Recording Technology on Music Performance and Production." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367581047.
Full textSztein, Baremberg Gabriella Ana. "Musical time and recording technology: A perspective from music theory." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.
Full textAhlberg, Jesper, and Andreas Andrén. "Usability Optimization and Testing Of Social Music Service." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-50063.
Full textThompson, Laura C. "How Arkansas Band Educators Use Technology for Music Education and Their Attitudes towards This Technology." Thesis, Arkansas State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13861515.
Full textThis study was conducted in order to understand the types of music technologies band educators in the state of Arkansas were using, their attitudes towards technology, and the implications training, during undergraduate and through professional development, had on the frequency of use. Arkansas Music Educators (n = 64) completed an online questionnaire containing demographic information, selection of music technologies, agreeability/disagreeability to statements about music technology, frequency of use, descriptions of technologies, and description of how they felt music technology should be used for the purpose of learning. Regarding training in undergraduate professional development for music technology use, there appeared to be no difference between the increase of music technology usage and the increase of more training. Results suggest that participants have an overall “good” attitude towards technology with the stipulation that it should be considered a tool, students and teachers receive appropriate training, and it should be used efficiently.
Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
Full textSmith, Alison. "The impact of music technology on a bass guitarist's development." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436449.
Full textWagenberg, Becky. "Computers, music, and math : using technology in a learning environment." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/42755.
Full textRoychowdhury, Amrita. "NON-USE OF STREAMING MUSIC TECHNOLOGIES." Thesis, Uppsala universitet, Informationssystem, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-341750.
Full textGouws, Eugene. "Audio Signal Processing in Ironman A development of film music analysis from a perspective of music technology." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63617.
Full textMini Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted
Samuels, Koichi Richard. "Enabling creativity : a study of inclusive music technology and practices at The Drake Music Project Northern Ireland." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702492.
Full textDarlington, Bruce. "Music in the spaces of the 21st century." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620326.
Full textKing, Andrew. "Contingent learning for creative music technologists." Thesis, Northumbria University, 2005. http://nrl.northumbria.ac.uk/9791/.
Full textHector, Jason. "Harnessing open sound control for networked music in VST systems." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/11267.
Full textIncludes bibliographical references (leaves 144-147).
Professional audio equipment is migrating towards general purpose computers running professional audio software systems such as Virtual Studio Technology [VST) and VST plugins that have been adopted as an informal standard for audio and MIDI plugins. The proliferation of computer networks has facilitated sharing and distributing musical content over networked technology and has benefits of allowing multiple, simultaneous, remote access to audio resources, it allows processing and computer hardware resources to be distributed amongst many computers and therefore has potential for VST processing farms, and facilities location independent musical collaborations. Open Sound Control is an open high-level application protocol developed to facilitate modern networked communications amongst audio processing units like VST plugins. OSC has been suggested as a successor to MIDI addressing its shortcomings in its design. This dissertation presents a prototype VST plugin called OscVstBridge that bridges the network isolated VST plugin and VST host to the OSC network domain. The prototype facilitates modern, high speed, networked, musical control communications amongst VST audio processes. OSC is an open protocol allowing OscVstBridge to communicate between VST systems from different vendors furthering inter-operability of audio and musical system and promotes standardisation.
McReynolds, Richard. "An exploration of the influence of technology upon the composer's process." Thesis, Cardiff University, 2019. http://orca.cf.ac.uk/119307/.
Full textChu, Xinlei. "Mongolian folklore expressed through music technology original multimedia soundtrack "On Horseback"." Thesis, Duquesne University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1554238.
Full textI returned to my hometown and recorded Mongolian folk music—Mongolian Long Song and Mongolian Throat Singing. I wanted to combine technology and traditional folk music and write an electronic piece based on Mongolian vocal materials. I used what I’ve sampled, manipulated the sounds, composed the music, gathered the videos together and created this multimedia piece—On Horseback. The names of the four movements—Sand, Cloud, Water, and Fire—are four elements that I chose to represent the lifestyle in Inner Mongolia.
This thesis covers the journey of how I created this piece. I’ve explored many variations of technology such as sound sampling, mixing, and video editing. I’ve also gained the chance to bring traditional Mongolian folk vocal music out of my hometown and present it in my own work.
Born, Georgina Emma Mary. "The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.
Full textFreedman, Barbara Ann. "The Impact of Technology-Based Music Classes on Music Department Enrollment in Secondary Public High Schools in the Northeastern United States." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538794/.
Full textRooney, David, and n/a. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.
Full textRooney, David. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Thesis, Griffith University, 1996. http://hdl.handle.net/10072/367206.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts
Full Text
Hsu, Emile. "In Their Hands| Extra-curricular Use of Technology by High School Music Students." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10841427.
Full textThe purpose of this study is to explore the technology high school music students are using to improve musicianship. For this study, research was done to determine how students are using the available devices and the most popular applications, programs, and websites available and used by high school band students. A survey was issued to instrumental music students in two high schools asking questions pertaining to the topic. Then, data was compiled into lists consisting of the devices, uses, and applications that were the most favored. The results showed that a majority of students occasionally used technology to either self-evaluate while practicing or find music on their own. In addition, students favored using smart devices while practicing, and they chose applications based on accessibility or familiarity. The findings from this study were similar to a few sources in the related literature, which determine that students are familiar with the technology in similar ways several educators are. For those reading this thesis, the information will provide them with better awareness of the technology their pupils use for music learning.
Das, Mitali. "Motion within music : the analysis of multivariate MIDI data." Thesis, University of York, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367466.
Full textPowers, Ollie D. "Interactions between composers and technology in the first decades of electronic music, 1948-1968." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.
Full textSchool of Music
Klontz, Mary-Hannah. "The Heart and Mind of Arnold Schoenberg?s ?De Profundis? Op. 50B." Thesis, George Mason University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3720713.
Full textThis research provides a guide to understanding, preparing, and performing Arnold Schoenberg’s last completed opus, “De Profundis” (Psalm 130) Op. 50B, within the context of the Hebrew chant that inspired it and Schoenberg’s other religious works, sketches, archival correspondence, and interviews with conductors. Theoretical and contextual analysis reveals significant discoveries relevant to an informed and accurate performance of the work. “De Profundis” embodies Schoenberg’s mature and most flexible twelve-tone writing at the peak of his spiritual development. Op. 50B is a serial a Cappella composition scored for six-part mixed chorus with great rhythmic and melodic independence in the vocal lines, including soprano and baritone solos and choral Sprechstimme. A composer’s final opus is generally regarded as his highest achievement, yet Op. 50, and in particular “De Profundis,” has received relatively little attention from music theorists or performers. While this research includes the traditional study of the composer and the score, there is also focus on distance learning through digital media and a symbolic interpretation of “De Profundis” that provides unique opportunities to engage the performer and audience. Through these efforts, others may be encouraged to hear and perform this beautiful work and to explore this unique method of rehearsing.
I, Made Satrya Rudana. "Kinect-based Music Application for Children with Severe Physical Disabilities : Kinect-based Music Application for Children with Severe Physical Disabilities." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-322535.
Full textOdh, Anton. "Digitala verktyg och musikskapande." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-64207.
Full textDinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
Full textRoyer, Theo. "Pitch-shifting algorithm design and applications in music." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-266118.
Full textPitch-shifting sänker eller ökar tonhöjden för en ljudinspelning. Denna teknik har använts i inspelningsstudior sedan 1960-talet, många Beatles-spår produceras med hjälp av analoga pitch-shifting effekter. Med ankomsten av den första digitala pitchshifting hårdvaran på 1970-talet blev denna teknik avgörande för musikproduktionen. Numera används det massivt i populärmusik för pitchkorrigering eller andra kreativa ändamål. Med förbättringen av blandningsoch masteringsprocesser har det senaste fokuset inom ljudindustrin placerats på högkvalitativa pitch-shiftingverktyg. Till följd av detta är nuvarande toppmoderna litteraturalgoritmer ofta överträffade av de bästa kommersiella algoritmerna. Tyvärr är dessa kommersiella algoritmer svarta lådor som är väldigt komplicerade att vända sig om.I den här mastersuppsatsen utvärderas toppmoderna pitch-shifting-tekniker som finns i litteraturen och lägger stor vikt vid ljudkvaliteten på musikaliska signaler. Tiddomäner och frekvensdomänmetoder studeras och testas på ett brett spektrum av ljudsignaler. Två offline-implementeringar av de mest lovande algoritmerna föreslås med nya funktioner. Pitch Synchronous Overlap and Add (PSOLA), en enkel tidsdomänalgoritm, används för att skapa pitch-shifting, formant-shifting, pitch-korrigeringoch kör-effekt på röstoch monofoniska signaler. Fas vocoder, en mer komplexfrekvensdomänalgoritm, kombineras med högkvalitativt spektralhöljeuppskattning och harmonisk-perkussiv separation för att designa en flervärd pitch-shifting och formant-shifting algoritm. Subjektiva utvärderingar indikerar att den resulterandekvaliteten är jämförbar med den av kommersiella algoritmerna.
Armstrong, Victoria. "Hard bargaining on the hard drive : gender in the music technology classroom." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006670/.
Full textKoehly, Rodolphe. "Fabrication of sustainable resistive-based paper touch sensors: Application to music technology." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104691.
Full textLa fabrication de nouveaux instruments musicaux numérique (IMN) nécessite l'utilisation de plusieurs types de capteurs afin de convertir les actions humaines en signaux électroniques pour le contrôle de variables de synthèse sonore. Parmi eux les capteurs de contact (force/pression) tels que les "Force Sensing Resistors" (FSR) sont les capteurs les plus utilisés. Même si des capteurs commerciaux peuvent facilement êtres trouvés chez des détaillants en électronique, seul un nombre limité de modèles standardisés, avec des tailles, des formes et des caractéristiques électriques prédéfinies, peuvent êtres achetés. Ces limitations ont des conséquences directes sur le design de nouveaux IMN qui doivent ainsi se limiter aux offres commerciales existantes.Après divers essais utilisant des polymères souples, des textiles, et des colles, nous avons choisi de nous concentrer sur les papiers conducteurs comme matières premières pour produire des capteurs de contact sensibles et adaptables. Ces recherches de thèse se sont alors orientées vers deux directions.Premièrement, nous avons commencé par fabriquer des capteurs à partir de papiers industriels à l'origine produit pour fournir des papiers colorés, et non pour une utilisation en tant que matériau conducteur. Nous avons montré néanmoins que ce papier conducteur est un matériaux sensible et exploitable. Plusieurs prototypes de capteurs ont ainsi été fabriqués en utilisant des échantillons de quatre types de papiers industriels provenant de trois manufacturiers (ArjoWiggins (Canson), Fabriano et PASCO). Ces prototypes ont ensuite été utilisés pour le développement de divers contrôleurs gestuels. Afin de vérifier le comportement des capteurs en action, nous avons développé un banc d'essai permettant de caractériser les propriétés électriques de ces capteurs en termes de répétabilité, dérive et hystérésis, et de les comparer à ceux des capteurs commerciaux.La seconde direction consistait à rechercher comment produire de tels papiers. Des expériences de laboratoires ont permis d'évaluer réglages des processus de fabrication à privilégier et les additifs chimiques à ajouter pour optimiser la rétention et la formation d'un mélange uniforme de pigments et de fibres et la formation d'un papier rugueux, poreux et compressible mais toujours élastique. Plusieurs types de papiers ont été réalisés en faisant varier la quantité de pigments et la structure des feuilles afin d'évaluer l'influence des caractéristiques d'un papier sur sa résistance électrique. Cette recherche contribue à la promotion de solutions alternatives pour le développement de capteurs de contact. Elle montre en particulier que les papiers conducteurs et les encres conductrices sont une alternative écologique aux polymères conducteurs pour la production de capteurs de contact. Les capteurs en papiers peuvent remplacer les capteurs industriels dans de nombreuses applications. De plus, ils sont recyclables et adaptables à tous types de design. La production d'un tel papier va procurer un stock de matières premières aux chercheurs afin qu'ils produisent leurs propres capteurs et conçoivent de nouveaux IMN tels que ceux qui sont présentés dans cette thèse. De plus, mis à part leurs capacités pour le contrôle de gestes musicaux experts, les capteurs en papier ont des applications potentielles dans d'autres domaines tels qu'en médecine (monitoring de lits d'hôpitaux), sécurité et domotiques (sols et murs sensibles), emballages intelligents, etc…La recherche multidisciplinaire est un moyen susceptible de générer de nouvelles technologies. Le papier conducteur offre de nouveaux moyens de produire des IMN pour un coût modéré en plus d'un label environnemental. La musique et les arts permettent en retour d'offrir une application ludique, attirante qui à fait ses preuves afin de convaincre les industries que les papiers conducteurs ont un gros potentiel dans d'autres applications.
Sciaky, Davide. "The digital transformation of the music industry through applications of blockchain technology." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-264916.
Full textSedan år 2008 har man trott att Blockchain teknologin skulle kunna revolutionera många olika industrier. Exempelvis trodde man att blockchain kunde vara lösningen på många problem som musikindustrin hade. Musikindustrin har gått igenom många olika förändringar under de senaste 20 åren som en konsekvens av piratverksamhet inom musikvärden och musik streaming. Även om denna teknologi funnits i över 10 år och varit mycket uppskattad av forskare och experter, så har det inte skett så många insatser för att försöka introducera blockchain i industrin, speciellt från de stora aktörerna. Frågan är om och hur teknologin kan förändra musikindustrin. Denna forskning analyserar tidigare studier i blockchain och i musikindustri, och om det kan finnas en koppling mellan dem. De mest kända tillämpningarna av blockchain kommer att presenteras, tillsammans med intervjuer med personer som jobbar i musikindustrin. Målet med intervjuerna är att förstå om problemen som teknologin vill lösa verkligen existerar, och om dem föreslagna lösningarna verkligen kan hjälpa. Resultaten jämförts också med tidigare studier som visar intresse för blockchain teknologin och tror på att den ska hjälpa. Ibland visade det sig att denna teknologi tros vara för ung för att bli applicerad i nutid, och majoriteten tror att den kommer ha en större betydelse om 10/15 år.
Nieto, Oriol. "Discovering structure in music| Automatic approaches and perceptual evaluations." Thesis, New York University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705329.
Full textThis dissertation addresses the problem of the automatic discovery of structure in music from audio signals by introducing novel approaches and proposing perceptually enhanced evaluations. First, the problem of music structure analysis is reviewed from the perspectives of music information retrieval (MIR) and music perception and cognition (MPC), including a discussion of the limitations and current challenges in both disciplines. When discussing the existing methods of evaluating the outputs of algorithms that discover musical structure, a transparent open source software called mir eval, which contains implementations to these evaluations, is introduced. Then, four MIR algorithms are presented: one to compress music recordings into audible summaries, another to discover musical patterns from an audio signal, and two for the identification of the large-scale, non-overlapping segments of a musical piece. After discussing these techniques, and given the differences when perceiving the structure of music, the idea of applying more MPC-oriented approaches is considered to obtain perceptually relevant evaluations for music segmentation. A methodology to automatically obtain the most difficult tracks for machines to annotate is presented in order to include them in a design of a human study to collect multiple human annotations. To select these tracks, a novel open source framework called music structural analysis framework (MSAF) is introduced. This framework contains the most relevant music segmentation algorithms and it uses mir eval to transparently evaluate them. Moreover, MSAF makes use of the JSON annotated music specification (JAMS), a new format to contain multiple annotations for several tasks in a single file, which simplifies the dataset design and the analysis of agreement across different human references. The human study to collect additional annotations (which are stored in JAMS files) is described, where five new annotations for fifty tracks are stored. Finally, these additional annotations are analyzed, confirming the problem of having ground-truth datasets with a single annotator per track due to the high degree of disagreement among annotators for the challenging tracks. To alleviate this, these annotations are merged to produce a more robust human reference annotation. Lastly, the standard F-measure of the hit rate measure to evaluate music segmentation is analyzed when access to additional annotations is not possible, and it is shown, via multiple human studies, that precision seems more perceptually relevant than recall.