Academic literature on the topic 'Music Production Studio'
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Journal articles on the topic "Music Production Studio"
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Slater, Mark. "Locating Project Studios and Studio Projects." Journal of the Royal Musical Association 141, no. 1 (2016): 167–202. http://dx.doi.org/10.1080/02690403.2016.1151241.
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ABSTRACTVia a longitudinal case study of a studio project (Middlewood Sessions, 2004–12), this research explores processes of music-making in the increasingly prevalent context of the project studio to give an insight into contemporary music-making practices. Predicated upon technologies of decreasing size but increasing processing power, project studios represent a diversification of musical creativity in terms of the persons and locations of music production. Increasingly mobile technologies lead to increasingly mobile practices of music production, which presents a challenge to the seemingly simple question: where is the project studio? In response, I propose an ontology of project-studio music-making that sets out what conditions have to be met for location, as an active proposition, to take place.
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Kearney, Daithí, and Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
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Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.
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Rohman, Taufiqur, Evi Malia, and Achamd Baihaki. "Analisis Potensi Penerimaan Pajak Penghasilan Atas Konten Youtube." Jurnal Penelitian Teori & Terapan Akuntansi (PETA) 8, no. 1 (January 31, 2023): 115–35. http://dx.doi.org/10.51289/peta.v8i1.642.
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Penelitian ini bertujuan untuk mengetahui potensi pajak atas konten youtube, dalam hal ini peneliti mengambil akun youtube yang ada di pamekasan yaitu kendedes music production. Metode penelititan kualitatif pendekatan deskriptif. Hasil peneliitian yang dilakukan oleh peneliti adalah bahwasanya akun kendedes music production memiliki konten music, ceramah agama, wedding dan live stremming, dan memiliki potensi pajak PPh 21 dan PPh 23 dalam potensi pajak PPh 21 Konten memiliki potensi pajak yang dikategorikan PPh 21 dimana hal ini potensi pajaknya terletak pada cameramen, penyanyi, sebagai bukan pegawai, dan pemilik akun youtube kendedes music production (andi) dan merangkap sebagai editor video sebagai wajib pajak orang pribadi bukan pegawai, cameramen dan penyanyi yang terlibat dalam pembutan konte youtube berpotensi membayar pajak atas jasa yang di berikan, dan pemilik akun youtube kendedes music production juga berpotensi membayar pajak atas penghasilan yang di dapat, Jasa Studio Music memiliki potensi pajak yang dikategorikan PPh 23 dimana hal ini potensi pajaknya terletak pada pemilik akun youtube kendedes music production (andi), dimana andi pemilik akun youtube kendedes music production berpotensi membayar pajak atas jasa sewa studio musiknya.
Penelitian ini bertujuan untuk mengetahui potensi pajak atas konten youtube, dalam hal ini peneliti mengambil akun youtube yang ada di pamekasan yaitu kendedes music production. Metode penelititan kualitatif pendekatan deskriptif. Hasil peneliitian yang dilakukan oleh peneliti adalah bahwasanya akun kendedes music production memiliki konten music, ceramah agama, wedding dan live stremming, dan memiliki potensi pajak PPh 21 dan PPh 23 dalam potensi pajak PPh 21 Konten memiliki potensi pajak yang dikategorikan PPh 21 dimana hal ini potensi pajaknya terletak pada cameramen, penyanyi, sebagai bukan pegawai, dan pemilik akun youtube kendedes music production (andi) dan merangkap sebagai editor video sebagai wajib pajak orang pribadi bukan pegawai, cameramen dan penyanyi yang terlibat dalam pembutan konte youtube berpotensi membayar pajak atas jasa yang di berikan, dan pemilik akun youtube kendedes music production juga berpotensi membayar pajak atas penghasilan yang di dapat, Jasa Studio Music memiliki potensi pajak yang dikategorikan PPh 23 dimana hal ini potensi pajaknya terletak pada pemilik akun youtube kendedes music production (andi), dimana andi pemilik akun youtube kendedes music production berpotensi membayar pajak atas jasa sewa studio musiknya.
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Kamalova, Y. B. "COMPUTER SYSTEM FOR HOME MUSIC STUDIO." SOFT MEASUREMENTS AND COMPUTING 6/1, no. 55 (2022): 54–65. http://dx.doi.org/10.36871/2618-9976.2022.06.006.
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A comparative analysis and selection according to the best characteristics of the components of the system for a home music studio is carried out. Silent cooling systems for individual components of factory production are considered under budget constraints.
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Octavfernando, Andero Jeremy, Dodot Sapto Adi, and Saudah Saudah. "Proses Komunikasi Kreatif Produser Electronic Dance Music dalam Produksi Lagu (Studi Pada Komunitas Produser EDM Lingkup Pengguna Fruity Loops Studio)." Indonesian Social Science Review 1, no. 2 (September 1, 2023): 61–74. http://dx.doi.org/10.61105/issr.v1i2.49.
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Electronic Dance Music or what is often heard as EDM, is dance music produced by an EDM producer using digital sounds via a computer. With the EDM phenomenon, the profession as an EDM producer among young Indonesians is getting more and more interested. The purpose of this study was to identify and understand the creative communication process of electronic dance music producers in music production. The research method used is descriptive research method with a qualitative approach. Data collection through semi-structured interviews and documentation. This research was conducted on 5 EDM producers with certain qualifications spread across Jakarta, Malang, and Yogyakarta. The result of this research is the finding of creative communication processes that occur in EDM producers in the production process of a song can not be separated from the references and intuition of an EDM producer himself. There needs to be references and intuition as a basis or tool in the production process through the creative communication process. In this study, references and intuition are managed using intrapersonal communication, creative communication, and innovation communication in order to achieve the goals of an EDM producer in the music production process.
Electronic Dance Music atau yang kerap kali didengar dengan sebutan EDM, adalah alunan musik dansa yang diproduksi oleh seorang produser EDM menggunakan suara-suara digital melalui komputer. Profesi sebagai produser EDM dikalangan anak muda Indonesia semakin banyak peminatnya. Tujuan penelitian ini adalah untuk mengetahui dan memahami proses komunikasi kreatif produser electronic dance music dalam produksi lagu. Metode penelitian yang digunakan adalah metode penelitian deskriptif dengan pendekatan kualitatif. Pengumpulan data melalui wawancara semiterstruktur dan dokumentasi. Penelitian ini dilakukan kepada 5 produser EDM dengan kualifikasi tertentu yang tersebar di Jakarta, Malang, dan Yogyakarta. Hasil dari penelitian ini adalah ditemukannya proses komunikasi kreatif yang terjadi pada produser EDM dalam proses produksi sebuah lagu tidak terlepas dari adanya referensi dan intuisi dari seorang produser EDM itu sendiri. Perlu adanya referensi dan intuisi sebagai landasan atau alat bantu dalam proses produksi melalui proses komunikasi kreatif. Dalam penelitian ini, referensi dan intuisi dikelola menggunakan komunikasi intrapersonal, komunikasi kreatif, dan komunikasi inovasi agar tercapainya tujuan dari seorang produser EDM dalam proses produksi lagu.
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Pramuditya, Puput, and Arya Putra Hananta. "Proses Produksi Musik pada Lagu Tyok Satrio di Studio DS Records." Journal of Music Science, Technology, and Industry 6, no. 1 (April 30, 2023): 79–96. http://dx.doi.org/10.31091/jomsti.v6i1.2420.
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Purpose: The purpose of this research is to identify and describe the music production process for Tyok Satrio's songs which were performed independently at Studio DS Records by Danurseto Bramana Adhi. Various stages from writing songs to making musical accompaniment are integrated into one unified music production process. According to Sawyer and Golding, music production has 3 (three) general stages, namely: (1) Pre-production which contains all musical concept planning as an efficiency of the recording process; (2) Production, namely the recording process in music production which involves all musicians; (3) Post Production is the last phase which contains the process of editing, balancing, mixing-mastering to present songs ready to be heard. Method: This study uses qualitative methods to discover and understand the various phenomena encountered to then be analyzed carefully. Data collection techniques were carried out by observation, interviews, and documentation. Results and discussion: The results and discussion show that the music production process carried out by Danurseto is carried out using the Sawyer and Golding methods with all departmental roles integrated with each other by the same person. Implication: the music production process for the song Tyok Satrio, which was carried out by Danurseto as producer, A&R, songwriter, arranger, instrumentalist, and sound engineer, can simultaneously achieve work efficiency by way of work mechanisms that are mutually integrated at each stage.
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Febrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto, and Akhmad Alimudin. "Music Scoring for Film Using Fruity Loops Studio." E3S Web of Conferences 188 (2020): 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.
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Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.
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Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)." Organised Sound 13, no. 3 (November 3, 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.
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AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.
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Yulia Pratiwi, Dina, and Erfan Erfan. "PELAKSANAAN PELATIHAN BINA VOKALIA DI PURWA CARAKA MUSIC STUDIO PADANG." Jurnal Sendratasik 10, no. 2 (December 5, 2020): 134. http://dx.doi.org/10.24036/jsu.v9i2.111168.
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This research is motivated by the existence of a vocal instructor, who does not have a musical education background, at Purwa Caraka Music Studio Padang. However, he is able to bring his students to get achievement at national level. This study aims to determine and describe the implementation of vocal training at Purwa Caraka Music Studio Padang. The aspects explored in this study are: 1) The program of vocal training at Purwa Caraka Music Studio Padang, 2) The implementation of vocal training at Purwa Caraka Music Studio Padang, 3) Obstacles to the implementation of vocal training at Purwa Caraka Music Studio Padang.This research useda descriptive analytic method. The data were collected through observation, interviews, documentation, and literature study. The results show that the implementation of vocal training at Purwa Caraka Music Studio Padang is based on the curriculum and handbooks. The methods used in vocal training are lectures, individual approachesand exercises, as well as voice production exercises which include: posture and diaphragmatic breathing, articulation techniques, intonation techniques, resonance techniques, and phrasering techniques. The obstacles in the implementation of the vocal training at Purwa Caraka Music Studio Padang are: 1) Mood of the students; 2) tone and tempo blind of the students.Keywords: Implementation, BinaVokalia, Purwa Caraka
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Walzer, Daniel. "Transient soundscape production." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 142–57. http://dx.doi.org/10.7146/se.v10i1.124203.
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Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education.
Dissertations / Theses on the topic "Music Production Studio"
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Thompson, Robin L. "The production of gospel music: An ethnographic study of studio-recorded music in Bellville, Cape Town." University of the Western Cape, 2015. http://hdl.handle.net/11394/4858.
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Magister Artium - MAThis thesis explores the production of music with musicians, singers and music producers who adhere to and promote Pentecostalist Christianity. The music they produce is a recently emerged genre, which I call 'Pentecospel'. I have coined this term to refer to a contemporary form of religiously inspired popular music, which is performed by young musicians belonging to various Pentecostal churches in Cape Town. I argue that 'Pentecospel' music is an emergent social form of self-representation, which is framed around Pentecostalism and the sound of Cape Town, as identified by Martin (2013). Young musicians and singers in Cape Town are absorbing and appropriating global styles of music, concepts and beliefs and music making techniques within their own musical compositions and transform their music performances in a way that enhances their local popularity. Thus, I elaborate on the processes of production through technical and social interpretations. This thesis will explore how performance, engaging audiences, the social interaction between people and technology, and the creation of their own unique sound on their musical instruments are linked to visual approaches located in the anthropology. This thesis is based on ethnographic fieldwork which took place mostly between December 2014 and February 2015. During this period, I worked with music producers and young people who have recorded at the 'Sounds of the Nations Africa: Cape Town' recording studio in Bellville, Cape Town, sharing their experiences of everyday life in and outside the studio. My three month long fieldwork included in-depth interviews, conversations and discussions, photographic and video material, and activity field notes. I made use of these methods in order to record my observations in the recording studio, during rehearsals and in public performances focusing on the social and musical interaction with the performing artists I got to know, through participant observation. I include my own participation as a musician and audience member with the use of these methods, in recording music in the 'Sounds of the Nations' recording studio for their upcoming album "Sound of Africa" and in public performances.
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Wilmering, Thomas. "Applications of Semantic Web technologies in music production." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9078.
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The development of tools and services for the realisation of the Semantic Web has been a very active field of research in recent years, with a strong focus on linking existing data. In the field of music information management, Semantic Web technologies may facilitate searching and browsing, and help to reveal relationships with data from other domains. At the same time, many algorithms have been developed to extract low and high-level features, which enable the user to analyse music and audio in detail. The use of semantics in the process of music production however is still a relatively new field of research. With computer systems and music processing applications becoming increasingly powerful and complex in their underlying structure, semantics can help musicians and producers in decision processes, and provide more natural interactions with the systems. Audio effects represent an integral part in modern music production. They modify an input signal and may be applied in order to enhance the perceived quality of a sound or to make more artistic changes to it in the composition process. Employing music information retrieval (MIR) and Semantic Web technologies specifically for the control of audio effects has the potential to be a significant step in their evolution. Detailed descriptions of the use of audio effects in a music production project can additionally facilitate the description of work flows and the reproducibility of production procedures, adding an additional layer of depth to MIR. We substantiate the hypothesis that the collection of audio related metadata during the production process is beneficial, by comparing the results of various feature extraction techniques on audio material before and after the application of audio effects. We develop a formal Semantic Web ontology for the domain of Audio Effects in the context of music production. The ontology enables the creation of detailed metadata about audio effects implementations within the Studio Ontology framework for use in music production projects. The ontology contains inter-linkable classification systems based on different criteria constituting an interdisciplinary classification. Finally, we evaluate the ontology and present several use cases and applications, such as adaptive audio effects using and creating semantic metadata.
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Polk, Darrel Maurice. "Home Studio Owners' Strategies to Compete in the Recording Industry." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6856.
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The purpose of this multiple case study was to explore strategies that well-established home recording studio owners in a city in the southeastern United States have used to compete in the recording industry. Four home recording studio owners served as participants. Each participant owned and operated a home studio business in the target area for longer than 10 years. Porter's 5 competitive forces model and Christensen's disruptive innovation theory were the conceptual lenses for this study. Interviews, direct observations, and website documents were the 3 data collection sources used to achieve methodological triangulation. The data were analyzed using Yin's 5-step thematic approach to qualitative data analysis: compiling, disassembling, reassembling, interpreting, and concluding. Four themes emerged from the analysis of the data: doing business and making money with friends, keeping the family safe and the studio secure, decoupling the clock from the creative process, and linking strategy to personal goals. The findings of this study may contribute to positive social change by economically empowering aspiring entrepreneurs to become small business owners and create new jobs that help strengthen their local economies.
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Laube, Jacob M. "Understanding artist development: How do producers support the development of artists through the production process?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107899/2/Jacob_Laube_Thesis.pdf.
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This thesis examines the concept of 'artist development' in music, identifying how musicians develop through the production process, and the role that the producer can play in such development. The study outlines the history of artist development in the music industry and the role of the record producer as an auteur figure, connecting this broad context with creative practice through the production of two EP recordings. Reflecting on artist development from the perspective of producer, the author identifies key elements of the production process that can contribute to the development of artists in a studio setting.
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Watson, Allan. "Sound practice : a relational economic geography of music production in and beyond the recording studio." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.
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This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.
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Anthony, Brendan. "‘The Stairways to Mixing Heaven’: Designs for the Optimisation of Creative Mixing Practices in Popular Music Record Production." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367706.
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As music technology ever develops, so too the creative practices and sonic outcomes of popular music productions evolve in response. This project therefore investigates the ways in which user-led system design informs the author’s practice as a recording studio mix engineer and as co-creator of popular music recordings.
The dissertation details a two-year study into the Stairways mixing preparation framework developed by the author. Stairways will be tested for its suitability to design personalised mixing systems with a view to achieving optimum creative results for various musical styles. The study documents the creation of mixes for eight original pieces of music, as written by six artists /bands, and where this development has been traced to provide a number of interpretations as 18 tracks on an accompanying CD portfolio. This compares the original artist ‘rough’ mixes with further insights into the application of digital and hybrid analogue systems.
This project is situated within the field of professional practice and therefore draws upon a range of literature including scholarly texts, trade magazines, popular music press, practitioner interviews and weblogs. A mixed method research design employs the author’s multi-decade experience as a mix professional and educator via a practice-based approach to detail the processes involved in the creation of the original music in question. This is situated within three action research cycles that progress the design by detailing the insights gained from each recording session as they progress over time and where various emergent sonic and creative phenomenon are examined. The dissertation is supported by a detailed series of appendices to present technical approaches, reflective journal entries and philosophical considerations for how to approach a given mix.Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
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Pinto, Waldir de Amorim 1971. "O estúdio não é o fundo de quintal = convergências na produção musical em meio às dicotomias do movimento do pagode nas décadas de 1980 e 1990 = The recording studio is not the backyard: convergences in the record production amid the dichotomies of the pagode movement in the 1980s and 1990s." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284481.
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Orientador: José Eduardo Ribeiro de PaivaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos
Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator
Doutorado
Fundamentos Teoricos
Doutor em Música
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Huschner, Roland. "„[…] if it would be me producing the song…“." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17606.
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Mit der Arbeit wird angestrebt, die komplexen Prozesse der Herstellung von an Tonträger gebundenen Klangkonfigurationen innerhalb des Tonstudios, die im Zuge feldspezifischer Prozesse als Popmusik funktionieren können, unter bestimmten Rahmenbedingungen durch Beobachtungen, Beschreibungen und Analysen bzw. Interpretationen zu erfassen. Die Funktion bzw. Funktionsweise dieser Institution des Feldes der populären Musikproduktion soll unter Verweis auf wahrgenommene Mechanismen und Strukturen jenes Feldes nachvollziehbar gemacht werden. Zur Auswertung der in Feldstudien erhobenen Daten werden Theorien von Pierre Bourdieu und Michel Foucault genutzt, da die Komplexität der untersuchten Prozesse mit Hilfe nur eines Ansatzes nicht hinreichend hätte interpretiert werden können. Im Gegensatz zur Intention Bourdieus wird jedoch auf einen allgemeinen, übergreifenden Gültigkeitsanspruch der Erkenntnisse auf gesellschaftliche Prozesse oder vermeintlich verwandte Felder verzichtet; die Arbeit orientiert sich vielmehr an der Herangehensweise einer auf den Untersuchungsgegenstand bezogenen Theorie der Grounded Theory. Die verwendeten Daten sind der Arbeit in transkribierter Form als Anhang beigefügt.This dissertation attempts to adequately represent and explain the complex field-specific processes which take place in the recording studios of popular music production during the creation of configurations of sound. Using participant observation in Berlin-based recording studios for data collection, this data was analyzed by utilizing and modifying the works of Pierre Bourdieu and Michel Foucault. In contrast to Bourdieu’s claims that fields have an identical structure, the field of popular music production is quite unique in its workings and cannot be explained in such a manner. Based on these findings, a partially different model and terminology is being developed. Most of the used data is available as (German) transcription in the appendix.
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Roberts, Rebecka. "Inspelningsteknik och inspelningsmiljö : hur spelar man in Bluegrass?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1946.
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Bluegrass är en energi- och glädjerik genre som kräver mycket samspel och kommunikation mellan alla musicerande. Detta gör det svårt att fånga genren bra under organiserade inspelningsförhållanden utan att tappa själen i musiken. Syftet med mitt arbete är att undersöka hur olika inspelningssätt, såväl tekniska som miljömässiga, påverkar musiker, instrument, ljud och känsla. Tre olika inspelningar har genomförts, en utomhusinspelning, en inspelning i studiomiljö samt en inspelning under en livekonsert. En mix mellan utomhus- och studioinspelningen skulle med facit i hand varit det allra bästa. Inspelningstekniken och miljön behöver anpassas efter den ensemble som ska spelas in. Allt beror på i vilket sammanhang musikerna känner sig avslappnade och trivs bäst. Det viktigaste som inspelningstekniker och producent är att skapa rätt förutsättningar för musikerna och att inspelningstekniken anpassas efter det sammanhanget.En inspelning från varje tillfälle medföljer, totalt tre inspelningar.
Den första är låten "Ill Fly Away" från utomhusinspelningen.
Den andra låten är "Man of Constant Sorrow" från studioinspelningen.
Den tredje låten är "Will the Circle Be Unbroken" från livekonserten.
Videodokumentären och musikvideos från respektive tillfälle finns på www.rebeckaroberts.com
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Nikolausson, Levi. "Plugins: hjälp eller stjälp? : en undersökande studie." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73956.
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I följande studie utforskas egna olika skapandeprocesser och problematiseras genom att sex stycken redan befintliga grundarrangemang efterproduceras genom två olika arbetssätt. Arbetssätten används för att kunna undersöka hur plugins gynnar skapandeprocessen på olika sätt. Olika skillnader, fördelar och nackdelar med dessa två arbetssätt undersöks, samt hur de två arbetssätten påverkar de olika skapandeprocesserna och slutproduktionernas färdiga resultat. Resultatet visar att de främsta skillnaderna inte finns i produktionernas totala kvalitet, utan att de istället finns inom de olika arbetssättens skapandeprocesser avseende effektivitet och inspiration. En slutsats är att det ena arbetssättet bidrar till ökad inspiration, men däremot att detta sätt inte alltid har varit lika effektivt i skapandeprocessen som det andra arbetssättet.
Books on the topic "Music Production Studio"
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Menasché, Emile. The desktop studio: A guide to computer-based audio production. Milwaukee, WI: Hal Leonard, 2002.
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Lemmy, ed. Motörhead in the studio. London: John Blake, 2010.
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Alec, Nisbett, ed. The sound studio. 5th ed. Oxford: Focal Press, 1993.
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Brown, Jake. Kanye West in the studio: Beats down! money up! (2000-2006). Phoenix: Colossus Books, 2006.
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Soifer, Rosanne. Music in video production. White Plains, N.Y: Knowledge Industry Publications, 1991.
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Novati, Maria Maddalena, and Marina Vaccarini. Marino Zuccheri & Friends. Milan]: Die Schachtel, 2018.
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Cousins, Mark. Logic Pro 9: Audio and music production. Boston: Focal Press, 2010.
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Russ, Hepworth-Sawyer, ed. Logic Pro 9: Audio and music production. Boston: Focal Press, 2010.
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Cousins, Mark. Logic Pro 8: Audio and music production. Amsterdam: Focal, 2008.
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Music in film and video productions. Boston: Focal Press, 1991.
Find full textBook chapters on the topic "Music Production Studio"
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Weekhout, Hans. "In the Studio." In Music Production, 7–12. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-3.
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Tanev, George, and Adrijan Božinovski. "Virtual Studio Technology inside Music Production." In ICT Innovations 2013, 231–41. Heidelberg: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-01466-1_22.
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Knotts, Shelly, and Nick Collins. "AI-Lectronica: Music AI in Clubs and Studio Production." In Handbook of Artificial Intelligence for Music, 849–71. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_30.
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Barkati, Karim, and Francis Rousseaux. "How to Understand Digital Studio Outputs: The Case of Digital Music Production." In IFIP Advances in Information and Communication Technology, 151–69. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-54897-0_9.
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Brett, Thomas. "Popular Music Production in Laptop Studios." In Producing Music, 179–93. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781315212241-11.
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Shelvock, Matthew T. "Case Studies in CBMP." In Cloud-Based Music Production, 149–56. New York : Routledge, 2020. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9781351137102-6.
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Scotto, Ciro. "The Studio's Function in Creating Distortion Related Compositional Structures in Hard Rock and Heavy Metal." In Distortion in Music Production, 201–15. London: Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-17.
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Chow, Yiu Fai, Jeroen de Kloet, and Leonie Schmidt. "Documenting the Past, Sustaining the Present, Making the Future." In Contemporary East Asian Visual Cultures, Societies and Politics, 1–34. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_1.
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AbstractThis introductory chapter positions Hong Kong as a unique case to rethink the intricate relationships between politics and popular music in the wider context of the globalised times where collective collection and creative practices are increasingly connected and mutually constitutive. It does so by first presenting to the readers Tat Ming Pair, an electronic duo formed in 1980s, during the so-called Golden Era of Cantopop in colonial Hong Kong. Commercially successful and critically acclaimed—thus regularly and currently censored in mainland China—for their engagements with social and political issues, Tat Ming Pair remains active and relevant especially through their live concerts in the last decade. Chapter 1 will elucidate why an inquiry taking the duo as its lynchpin serves to address the central question: How (far) does music impact on politics, and how (far) does politics impact on music? We will then expand our ideas of writing pop and politics in tandem with writing the past, the present and the future—interlaced with a colonial and post-colonial account of Hong Kong, a rally to resilience and activism, and a dialogue with hope and future, all very makeshift. After outlining the theoretical underpinning, this introduction continues to align our inquiry to the growing body of scholarship that seeks to de-Westernise popular music studies, a field of knowledge production persistently dominated by Anglo-Saxon experience and publications. Finally, this unusual attempt to tease out the empirical and theoretical potentials of one single popular music formation in a book-length study, covering not only its creative output (music) but also the production and reception aspects, will be put forward as a methodological intervention, a possible alternative approach to study popular music. The introduction ends with presenting the organisation logic of the book and the gist of the subsequent chapters.
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Nasta, Dominique. "Musical Moments as Narrative and Emotional Catalysts in Three Silent Films by Jacques Feyder." In When Music Takes Over in Film, 57–74. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_4.
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AbstractAs many studies have shown, the link between cinema, psychology and music played an important role both theoretically and practically during the French avant-garde of the 1920s in the work of Delluc, Epstein, Gance, Grémillon or L’Herbier. Jacques Feyder’s three films for the Franco-Russian production company Albatros—Visagesd’enfants (1925), Gribiche (1926) and Les Nouveaux Messieurs (1928)—demonstrate his unprecedented mastery of the ‘musical moment’ both in its relationship to stories involving painful situations experienced by young children and in the way it rhythms emotion and affect. Feyder’s mise en scène and spectacular crosscutting techniques crystallise them, yoking the musical moment to a dream, or a mental image, or a simple celebration in a realist pseudo-documentary décor. This chapter elucidates these musical moments using theories related to subliminal auditory perception, deferred time intervals and baseline affective charges: the latter occur in Feyder’s silent films for which no original pre-existing accompaniment is known.
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Chow, Yiu Fai, Jeroen de Kloet, and Leonie Schmidt. "1 + 1 = ?" In Contemporary East Asian Visual Cultures, Societies and Politics, 165–95. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_6.
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AbstractThis chapter concerns Tat Ming Pair’s legacy as much as the more fundamental question of how to investigate legacy in pop music studies. The chapter title is not only an admittedly self-indulgent twist of a title of Tat Ming’s song “1+4=14”; it necessitates thinking on how to discuss the legacy of music practitioners in general. Shelving the titular reference to 2+2=5, the Orwellian dystopian caution of brainwashing and thought control, we are wondering how much Tats + Ming amounts to. 1+1=? Reminded of the “bias” of legacy studies, in which the effective is highlighted—in the sense of how the “man” and/or the “music” have effected into something, the legacy, we argue to pay attention to the emotional, what we will call the affective, side of any influence and impact any music practitioners may exert. We move our gaze towards cultural intermediaries, whose affinities with Tat Ming enable numerous afterlives and cultural translations of Tat Ming’s music and life. We invited eleven people to share with us; most of them are working in popular music, and a few in related fields of music and culture at large. We will first discuss Tat Ming’s legacy in terms of effect, of how Tat Ming as music makers have effected—entailed, enabled, brought about—cultural productions in music and wider cultural scenes. Tangibly, we observed how Tat Ming effected in them the very burgeoning of an interest, a passion, and a dedication to a career in music, as well as their own music and other creative works. Intangibly, we noted how Tat Ming left a yardstick for these later generations of music makers to evaluate their own music: Tat Ming’s impact on what counts as good pop—it has to be relevant and urgent, subtle and nuanced, honest and alternative. When we investigate their legacy in affective terms, these cultural intermediaries talk even more poignantly, passionately, and personally about the way they experience Tat Ming as persons. Their narratives could have resourced so much more, but we follow three protagonists: as good mentors, as good Hong Kongers, as good human beings.
Conference papers on the topic "Music Production Studio"
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Āboliņa, Daira. "Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics." In International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.
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The research is focused on the development of the means of artistic expression applied in the cinema of a specific time period (1966–1989), analysing the films made at the Riga Film Studio (Rīgas Kinostudija), commissioned by the Central Television of the USSR. Both innovative and formal solutions can be found in the films of that era, especially considering the creation of the two-part format. The current publication focuses on the genesis of the artistic and production processes of the film “Lielais dzintars” (“The Great Amber”, “Dziesma par Rīgu” / “A Song About Riga”, 1972), in the context of the cinema development of that time, based on the documents of the Latvian State Archives of the Latvian National Archives. The inclusion of humorous elements in the film’s narrative, the use of music, visually impressive Latvian landscapes on the screen, an international cast corresponding to the scale of the USSR, was a way to sell the film to the customer. Riga Film Studio and its authors agreed to modify the script and film several times, subjecting themselves to artistic compromises. Censorship in the USSR realized its ideological goals by idealizing the Soviet man’s way of life, destroying the narrative and aesthetics of the film “Lielais dzintars”.
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Etinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.
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Music industry changes in the last decade largely shifted the music production tasks from big established studios to music artists. With the addition of online music streaming platforms, an end-to-end process of music creation, publishing, delivery, and consummation is achieved. This phenomenon emphasizes music artists as content creators to handle music production. Digital audio workstation systems enabled end users to compose, record, mix and master music. This research focuses on identifying the fit between various tasks music artists must perform during music creation and the technical characteristic of the tools used, particularly modern digital audio workstations. Ultimately, it is tested whether the task- technology fit (TTF), a well-established information systems theory model is a good predictor of the intention to use digital audio workstation systems by music artists. By applying the PLS-SEM method, results show that TTF positively influences music artists' intention to use DAWs.
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Jiang, Jiang. "Application of String Music Source in Musical Instrument Digital Interface Production." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.102.
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Garcia, Marcos da Rosa, Gutenberg Lima Marques, Matheus Barros, and Juciane Araldi Beltrame. "Production of digital content in music teacher education: a study about podcast’s possibilities." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19448.
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This short paper presents an ongoing research that intertwines the theme of educational digital content production for the internet, specifically the audio podcast format, with the pedagogical practices developed in the context of music teacher education and emergency remote teaching. We aim at analyzing the experience of producing digital pedagogical-musical content in the podcast format by students of two Music Education Degree courses. The study uses a qualitative approach and the methodological strategy is based on concepts of action-research. The research is being developed by Technologies and Music Education Research Group (Tedum-UFPB) and by a team of professors from two federal higher education institutions. Data collection will be carried out through the development of field diaries by the research team and through conversation roundtables with the participant students, besides the entire process of documentation, registration and analysis of the phases that make up the action-research cycle. The research presented here can contribute to the processes of creation and conception of audio format content, seeking methodologies that are specific to the musical field, enhancing collective spaces for creation, valuing different authorships and encouraging pedagogical and musical diversity.
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Arthur, Reginald, Olivia Anku Tsede, Mohammed-Aminu Sanda, Eleonora Belfiore, and Thilde Langevang. "Conceptualizing the Influence of Digital Musicpreneurs on the Music Streaming Ecosystem in the Global South: An Actor-Network Perspective." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004302.
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It has been almost a decade since the emergence of music streaming services (MSS) started changing the economic fortunes of the music industry globally. The International Federation for Phonographic Industry (IFPI) reports that since 2015 streaming has consistently dominated the music industry revenue, currently accounting for more than 67% of total global recorded music revenue (IFPI, 2023). In the Global South, this growth has been marked with the recent interest of global giants in the music streaming industry such as Boomplay and Spotify seeking to gain grounds in several Sub-Saharan countries including Ghana. Despite the significant growth and interest in the contemporary music industry, the specific dynamics and framework within which streaming operates in the context of Ghana’s music industry is yet to be explored. This study thus aims to explore and conceptualize the influence of digital entrepreneurs in the streaming business ecosystem in Ghana, utilizing an Actor-Network Theory (ANT) analysis. With the rise of music streaming and the advent of independent music production and distribution, a new category of entrepreneurs known as “digital musicpreneurs” have emerged as key players in reshaping the music industry landscape.Drawing on the ANT framework, this paper adopts a comprehensive approach to analyze the intricate interactions, relationships, and power dynamics between these digital musicpreneurs and various actors within the music industry business ecosystem in Ghana. This study seeks to provide a conceptual understanding of the transformative impact of these entrepreneurs on the ecosystem, taking into account the unique challenges and opportunities faced by the Global South music industry. In its analysis, the following dimensions are considered. First, the study explores the dynamic interactions between digital musicpreneurs and other actors, including musicians, producers, record labels, distributors, and the dominant digital platform in Ghana, Boomplay. Also, this study delves into the role of technology, particularly digital platforms and online tools, in mediating the activities of digital musicpreneurs, with a particular emphasis on how these technologies are utilized and accessed in Ghana. It explores how digital musicpreneurs leverage technology to create and distribute music, engage with audiences, and develop innovative business models, considering the infrastructural and digital divide challenges faced by the Global South. Furthermore, this paper focuses on understanding how digital musicpreneurs contribute to value creation within the music industry ecosystem in Ghana. It explores their innovative approaches to music production, marketing, and monetization, while considering the specific economic constraints, market dynamics, disruptions caused by their entrepreneurial activities and their implications for the Global South music industry. Finally, this paper analyzes the network effects and ecosystem evolution resulting from the influence of digital musicpreneurs and explores how their actions and collaborations shape the industry’s competitive landscape, foster innovation, and drive ecosystem growth. By adopting an ANT analysis with a Global South perspective, this study will generate insights that have implications for various stakeholders in the Ghana music industry, including digital musicpreneurs themselves, musicians, record labels, policymakers, and industry practitioners.
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Zhao, Yan. "The Status Quo and Development Strategy of "Computer Music Production" Course in Ordinary Normal Colleges and Universities." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.179.
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Monnazzi, João, and Regis Faria. "Body Building Music: The Kinase Instalation." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.
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Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the athlete’s during their preparation. Hours of intense practice to improve some motor skills that can enable them to improve their performance. The disciplines can be interpolated in a way that we can argue: there is always something physical on a music interpretation, as well as there is always something artistic in a sport competition. In the inner area between art/music and sports some modalities are easier to verify this symbiosis, as in the choreographic sports. These modalities are evaluated by both physical and artistic parameters. Our work focus in a particular sport modality that has a part of scoring which is evaluated through a choreographic routine: The Bodybuilding.
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CHIRCEV, Elena. "Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.
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Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920- 1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.
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Wu, Yue, Anran Qiu, Liuxuan Ruan, Xuejie Li, Jinhao Huang, and Stephen Jia Wang. "DJaytopia: a hybrid intelligent DJ co-remixing system." In 5th International Conference on Human Systems Engineering and Design: Future Trends and Applications (IHSED 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004114.
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Nowadays, musical mixing platforms are featured with programmed interventions and digitized information visualization to support DJ's performance (Montano 2010), however, the visualization is always obscure to the average music consumers (Beamish, Maclean, and Fels 2004). Being a well-performed DJ requires the level of expertise and experience that most average music consumers lack (Cliff 2000), as every audience has a completely different taste in music (Schäfer and Sedlmeier 2010). This study aims at developing an AI / ML-based system to lower the bar for novice DJs and even average music consumers to create personalized music remixes.Generally, music can be intelligently composed by analyzing harmonic and melodic features to generate genre-specific compositional elements or to alter the compositional structure of a song (Tan and Li 2021). Despite the technical breakthroughs that have been made, listeners have reacted negatively to this music due to the lack of user data to back it up and the neglect of the user's perception of the piece (Tigre Moura and Maw 2021). In a conventional scenario, DJs can express their attitudes towards music preferences by listening to the music directly, which requires a well understanding of the audience's mind. Following the recent launch and explosion of ChatGPT, which has evidenced that an intelligent system could help users innovate by solving their problems in textual form through conversational interactions (Dis et al. 2023; Dwivedi et al. 2023); also collecting the users' feedback through conversations, observing user reactions, and inviting user reviews. Such AI-enabled systems are able to learn about the user's preferred music style and various DJ mixing techniques. This study adopts a typical human-in-the-loop (HITL) approach to develop a crowd-learning music mixing system implementing AI and Virtual Reality technologies. The proposed HITL-based co-music arrangement system should be able to collect musical data and techniques; a VR environment is built to provide users with a platform to record user-created music and corresponding applied methods as well as audience ratings worldwide. After processing the data, users can try out a compilation of songs assisted by a robotic arm. With the help of the robotic arm, it will be easier and faster for users to create collections with a personal touch and more specific techniques. The essential functions include: a) Providing users with an immersive environment to learn the basic operations of the DJ console. b) Collecting the user's preferences for compilation techniques and the content of different DJ's compositions for use through an “immersive online multiplayer music compilation platform” to generate a personalized library of methods to help the user compile songs; c) Assisting the user in creating their preferred individual compilation style faster as they try out the DJ's operations; d) Indicating to the user where the music needs to be equalized, switched or arranged. Instead of showing the user the digital music signal to assist in creating more efficiently, the system directly operates on the DJ console.User experience experiments were conducted with both novice DJs and experienced DJs to validate whether the proposed system could help humans in creating more engaging music with stronger musicality. Five participants, respectively three novice DJs and two experienced DJs, joined two experiments of half an hour on a virtual DJ and an actual DJ console. They started the experiment by experiencing the virtual DJ console and DJ community in VR. They remixed independently first and then collaborated with the robotic arm together for music production on the actual DJ console. Three different audience also joined the experiment to evaluate the performance of users. The result was that the music produced with the robotic arm had better musicality. The user's attitude towards the whole experience, reflected in whether the music was rhythmic or the system was inspiring was recorded in the feedback. Overall, the users had a satisfying and smooth experience, and the collaborative music remixing had a certain level of musicality, but there is still some room for improvement in terms of user understanding. However, the users expressed that this fresh collaborative approach made them more interested in DJing and motivated their desire to learn and create.
Reports on the topic "Music Production Studio"
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Lefevre, Bruno, and Philippe Bouquillion. Communications, media and internet concentration in France, 2019-2021. Global Media and Internet Concentration Project, Carleton University, 2024. http://dx.doi.org/10.22215/gmicp/2024.2.
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This report focuses on approximately thirty French markets, contributing to local debates and research as part of the Global Media and Internet Concentration Project (GMICP). It explores the dynamics of diversified economic players in cultural industries (press, audiovisual, books, music), emphasizing the coexistence of 'traditional' and 'new' entrants. The study provides sector-based and global analyses, revealing a dual dynamic of diversification and concentration in the production, distribution, and broadcasting of cultural and information content. Audiovisual content broadcasting, both free and pay, demonstrates national dominance but faces challenges from foreign groups. Financialization and concentration affect media and cultural goods industries, posing risks to diversity of opinion. The dominance of North American groups in digital services, particularly in advertising, is noted, impacting traditional media revenues. Telecom operators lead the French market, with regulators monitoring concentration dynamics for potential negative impacts on diversity.
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Chaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, April 2013. http://dx.doi.org/10.18235/0009113.
Full textAbstract:
Although small in terms of population, the Caribbean is renowned for its creativity. Its cultural diversity is manifested in a variety of artistic expressions including folklore, crafts, performances, music festivals, and carnivals. Despite the Caribbean's great potential in the entertainment sector, important domestic challenges - emanating from both public and private sectors - have long impeded the successful growth of creative industries. The paper explains how the implementation of the Economic Partnership Agreement with the European Union should serve as an impetus for stakeholders in the region to address these barriers thereby creating favorable conditions for the production and export of Caribbean entertainment services. This Study presents an overview of policies in the creative sector in terms of the promotion of services exports in selected CARICOM states: Barbados, Jamaica, and Trinidad and Tobago. This Technical Note highlights bottlenecks to implementation of recommendations proposed in existing analyses and diagnostics and suggests specific ways in which these can be overcome. It formulates concrete recommendations for relevant actors, including donors and domestic governments, to promote the development of the creative industries.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.
Full textAbstract:
Marrickville is located in the western heart of inner-city Sydney and is the beneficiary of the centrifugal process that has forced many creatives out of the inner city itself and further out into more affordable suburbs. This locality is built on the lands of the Eora nation. It is one of the most culturally diverse communities in the country but is slowly being gentrified creating tensions between its light industrial heart, its creative industry community and inner city developers. SME’s, co-working spaces and live music venues, are all in jeopardy as they occupy light-industrial warehouses which either have been re-zoned or are under threat of re-zoning. Its location underneath the flight path of major air traffic may indeed be a saving factor in its preservation as the creative industries operate across all major sectors here and the air traffic noise keeps land prices down. Despite these pressures the creative industries in Marrickville have experienced substantial growth since 2011, with the current CI intensity sitting at 9.2%. This is the only region in this study where the cultural production sector holds more than half the employment for specialists and support workers, when compared to creative services.