Relevant bibliographies by topics / Music programmers

Academic literature on the topic 'Music programmers'

Author: Grafiati
Published: 1 June 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Music programmers":

1

Temkin, Daniel. "Entropy and FatFinger: Challenging the Compulsiveness of Code with Programmatic Anti-Styles." Leonardo 51, no. 4 (August 2018): 405–12. http://dx.doi.org/10.1162/leon_a_01651.

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Coding, the translating of human intent into logical steps, reinforces a compulsive way of thinking, as described in Joseph Weitzenbaum’s “Science and the Compulsive Programmer” (1976). Two projects by the author, Entropy (2010) and FatFinger (2017), challenge this by encouraging gestural approaches to code. In the Entropy programming language, data becomes slightly more approximate each time it is used, drifting from its original values, forcing programmers to be less precise. FatFinger, a Javascript dialect, allows the programmer to misspell code and interprets it as the closest runnable variation, strategically guessing at the programmer’s intent.
2

Devenish, Louise. "INTRODUCTION: TOWARDS GENDER DIVERSITY IN NEW MUSIC PRACTICE." Tempo 74, no. 292 (March 6, 2020): 6–9. http://dx.doi.org/10.1017/s0040298219001128.

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AbstractThe collection of articles in TEMPO 292 provides the opportunity to examine recent research and approaches towards gender diversity in new music from an Australian perspective. The otherwise under-recognised contributions to the development of music by women and gender-diverse artists is spotlighted through academic research, industry strategies and creative approaches to music-making. Topics explored include artistic research in free improvisation, performance analysis and performativity, presented together with research findings drawn from mentorship programmes for female composers, gender diversity strategies in tertiary music education and the positive impacts of content targets in programming. Together these articles offer a wide range of perspectives on changing creation and performance practices, listening practices and audience attitudes to music in the twenty-first century. Contributors include leading scholar-performers active at the forefront of contemporary music in Australia, artists from the UK and USA, as well as national radio programmers and not-for-profit arts organisations.
3

Wang, Ge, Perry R. Cook, and Spencer Salazar. "ChucK: A Strongly Timed Computer Music Language." Computer Music Journal 39, no. 4 (December 2015): 10–29. http://dx.doi.org/10.1162/comj_a_00324.

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ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.
4

Szepanski, Achim. "A Mille Plateaux manifesto." Organised Sound 6, no. 3 (December 2001): 225–28. http://dx.doi.org/10.1017/s1355771801003089.

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The label Mille Plateaux focuses on concepts like virtuality, noise, machinism and digitality. In the most simple case, digital music simulates something that does not exist as a reality; it generates something new. It is the result of the teamwork of numerous authorities such as the 'musician', the programmer and the authority of the software program. Today, computer digital music can be seen as screen-based music, i.e. sounds become visible and images audible, but one can often forget that there is no mutual correspondence; and that this is simply a mechanism whereby a given program secretly directs the programmer towards significant ways of performing, creating apparently absolute relationships between image and sound. On the other hand, with the increasing complexity of software, the programmer loses insight into internal communication structures. Such complex programs are full of errors and can even act on their own initiative. Programmers and musicians who navigate through today's systems function as designers. But this is less a question of the design of a program's operation surfaces but of the programming of software and the navigation by its logic. One has to discuss the medial conditions of digital music, the more user-friendly the software, the less transparent is the medium itself; i.e. the more transparent the functions of a computer or a synthesizer (say, with the use of preset sounds), the stronger the medium proves to be non-transparent. Digital music is more about opening up given program structures; internal ramifications and program hierarchies are to be discovered.
5

Rubinstein, Yair. "Uneasy Listening." Resonance 1, no. 1 (2020): 77–93. http://dx.doi.org/10.1525/res.2020.1.1.77.

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This paper explores the cultural ramifications of music generated by artificial intelligence (AI). Deploying complex algorithms to create original music productions, AI’s automation of human authorship may suggest a radically new sonic form. However, its creators have preferred to use its tools to mimic established musical genres from the past. As a result, notable AI-music programmers like composer David Cope and software developers Flow Machines have galvanized the public’s interest in AI-generated music not by creating completely alien sonic forms, but by simulating popular styles like rock and classical music. Consequently, listeners often report AI music sounds unnervingly familiar rather than aesthetically inaccessible. I argue that it is precisely AI music’s devotion to uncannily approximating its human forebears that makes it such an interesting object of contemporary sonic production. It also provides a useful historical parallel to a short-lived musical movement from the 2000s known as sonic hauntology. Much like AI programmers, producers of sonic hauntology applied digital technology to the sonic past. However, they confronted it in more deliberately political and subversive ways. Sampling sonic artifacts and cultural marginalia from the mid-20th century, sonic hauntologists created eerie soundscapes designed to challenge mass culture’s erasure of history’s political depth, or what Fredric Jameson famously referred to as late capitalism’s cultural logic of postmodernism. While AI music has yet to be exploited in this way, I argue its inherently “uneasy listening” carries the potential to further sonic hauntology’s project of repurposing the sonic past to estrange listeners from the present moment.
6

Tarasau, Herman, and Ananga Thapaliya. "Influence of listening to music on emotional state of programmers: Preliminary study." Journal of Physics: Conference Series 1694 (December 2020): 012013. http://dx.doi.org/10.1088/1742-6596/1694/1/012013.

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7

Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (May 2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists to radio programmers. The success of this programme is based upon state agents developing an institutional isomorphism with existing music industry practices. Even so, popular music makers contest New Zealand on Air’s sympathetic policy settings by citing forms of institutional exclusion.
8

Anthony, Brendan, Paul Thompson, and Tuomas Auvinen. "Learning the ‘tracker’ process: A case study into popular music pedagogy." Journal of Popular Music Education 4, no. 2 (July 1, 2020): 211–35. http://dx.doi.org/10.1386/jpme_00026_1.

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The ‘tracker’ production process is a modern form of music production agency where top-line songwriters work with music programmers called ‘trackers’, primarily within the confines of the digital audio workstation. In this case, production, songwriting and performance often happen concurrently, and collaboration involves the synthesis of ideas, musical negotiations and expertise in using digital and online technologies. In providing popular music production learning activities that translate to professional contexts, higher education institutions face a number of challenges, particularly where much of the collaboration is undertaken online. This article reports on a cohort of Bachelor of Popular Music students who undertook a tracker process module. Students’ perceptions of ‘engagement’ and ‘learning’ were captured via an assessment item and survey, and a themed analysis indicated that the pedagogy promoted the use of diverse social skills, was highly collaborative, relied both on specialist and non-specialist knowledge, and involved the use of digital and online communications.
9

Bonini, Tiziano, and Alessandro Gandini. "“First Week Is Editorial, Second Week Is Algorithmic”: Platform Gatekeepers and the Platformization of Music Curation." Social Media + Society 5, no. 4 (October 2019): 205630511988000. http://dx.doi.org/10.1177/2056305119880006.

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This article investigates the logics that underpin music curation, and particularly the work of music curators, working at digital music streaming platforms. Based on ethnographic research that combines participant observation and a set of interviews with key informants, the article questions the relationship between algorithmic and human curation and the specific workings of music curation as a form of platform gatekeeping. We argue that music streaming platforms in combining proprietary algorithms and human curators constitute the “new gatekeepers” in an industry previously dominated by human intermediaries such as radio programmers, journalists, and other experts. The article suggests understanding this gatekeeping activity as a form of “algo-torial power” that has the ability to set the “listening agendas” of global music consumers. While the power of traditional gatekeepers was mainly of an editorial nature, albeit data had some relevance in orienting their choices, the power of platform gatekepeers is an editorial power “augmented” and enhanced by algorithms and big data. Platform gatekeepers have more data, more tools to manage and to make sense of these data, and thus more power than their predecessors. Platformization of music curation then consists of a data-intense gatekeeping activity, based on different mixes of algo-torial logics, that produces new regimes of visibility. This makes the platform capitalistic model potentially more efficient than industrial capitalism in transforming audience attention into data and data into commodities.
10

Li, Wenhao, Zhengmo Ma, and Zijian Zou. "Synthetic Music Random Generation Based on Nyquist." Highlights in Science, Engineering and Technology 85 (March 13, 2024): 591–96. http://dx.doi.org/10.54097/750ga766.

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The idea of composing music based on programs has a long history, from some pioneers who first tried to fulfill this idea, to now, the variety of software and workshops that allow people to generate music in different approaches. On this basis, this study will briefly discuss the main idea and some methods used to compose the music in this paper. We aimed to randomly generate a piece of music using only Nyquist. Thus, each time when listen to this, there is a slight difference. With this in mind, this paper has used two ways: the first one is to use several functions in Nyquist, which would randomly choose numbers in a given list or range. The second way is a method based on the functions mentioned earlier, called the random walk, which lets the program stochastically choose one item in a given list of a range of numbers every time to add or subtract to the origin number given by programmers. By using these two techniques, one can generate random sounds and random rhythmic patterns, and when we put these sounds and patterns into scores to generate various melodies, we can stochastically increase or decrease the overall pitch of that score. Finally, the scores are combined to create the whole piece of music. Although there are limitations, this study has provided some methods that can be useful for generating stochastic music.
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Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Music programmers":

1

Vickers, Paul. "CAITLIN : implementation of a musical program auralisation system to study the effects on debugging tasks as performed by novice Pascal programmers." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/10560.

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In recent years, researchers have begun to focus on the communication of information using sound. This auditory display research community now has its own community and international conference (the International Conference on Auditory Display). Auditory Display embraces many interesting avenues of enquiry, one of which, program auralisation is the topic of this thesis. This thesis describes how the technique of program auralisation (the mapping of computer program data and events to sound) was applied within a musical framework and .context in the development of a musical program auralisation system called CAITLIN (the Computer Audio Interface to Locate Incorrect Nonsense). The motivation behind the construction of CAITLIN was to devise a system of auditory display that would assist novice Pascal programmers in debugging their code. Prior to this thesis, almost no experimentation had been carried out into this area. Earlier systems had been developed, but there was no empirical evidence against which to judge success or failure. Experimentation was carried out to assess the suitability of the technique as applied by CAITLIN. Novice programmers were engaged in several debugging exercises both with and without the assistance of the CAITLIN musical program auralisations. The results from the experiments have suggested circumstances in which such auditory feedback may indeed be useful. Further development and experimentation needs to be carried out to explore the potential of the technique. A set of organising principles for the use of music in program auralisation has been proposed on the basis of this research and a review of earlier work in the auditory display, music cognition, and music-theoretic fields.
2

Kochenderfer, Mary Anne. "Music after war : therapeutic music programmes in Bosnia and Herzegovina." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1956.

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This thesis is a study of therapeutic music programmes in post-war Bosnia and Herzegovina. This study focuses on how different participant groups perceive programme aims and benefits and what these different perceptions reveal about the programmes as well as ways in which the local context impacts the programmes. Analysis is based on data gathered through interviews, observation, participant observation, and questionnaires obtained during five fieldwork visits undertaken between November 2003 and November 2004. While all participant groups agree that the programmes are beneficial, there are important differences in the ways different participant groups perceive programme benefits and the different ways in which the programmes approach sessions. Constructions of therapy appear to differ both between programmes and between international and local staff. All participant groups identified improved client communication and social skills as primary session outcomes. Clients appear to be largely unaware of the therapeutic aims of their sessions. Parents appear to have little influence and are not always notified that their children are involved with the programmes. International staff members appear to be intolerant of parents who do not heed their advice or reinforce progress made during sessions. In addition to running therapeutic sessions, these programmes work to increase inter-ethnic tolerance and to improve the skills of other local professionals. Programme success appears to be hindered by uncertainties inherent in working in a post-war environment. Developed and largely influenced by internationals, the programmes also face uncertainty as to whether they possess the necessary local leadership and ownership for long-term sustainability. There is evidence that tensions within, between, and outwith the programmes limit programme potential. Many of these tensions appear to be tied to local-international relations within programmes, which are exacerbated by national local-international tensions. A funding shortage has contributed to a competitive rather than a cooperative relationship between programmes. As the first detailed study of post-war therapeutic music programmes, this study has the potential to impact similar work in other regions and provides a more informed backdrop against which judgements can be made regarding the role and appropriateness of music as a form of therapy in post-war regions.
3

Bertilsson, Kajsa. "Elever och motivation : En studie om vad som driver elever på estetiska programmet till att spela musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79899.

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Reynisson, Haukur. "Man vs. Machine : A comparative study on MIDI programmed and recorded drums." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43782.

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Whilst drum replacement, the act of replacing the sound of a particular drum with a pre-recorded sample, has been in practice since the 1970s it is only towards the end of the first decade of the 21st century that software drum machines such as Toontrack’s Superior Drummer 2.0 and Steven Slate Drums have become an popular alternative to actual drum recordings within music production. With the increasing popularity there have been voices from the music community in protest claiming that a machine could never replace an actual drummer. What I aimed to do in this project was to do a comparative study, where I analyse and compare various aspects of both alternatives – a recorded performance with an actual drummer and a MIDI programmed performance sampled drum machine – and see whether or not a human drummer could possibly be replaceable. The results indicated that, given the circumstances and project restrictions, the differences were mostly too miniscule to have any practical value and therefore a drummer was in this scenario replaceable by a MIDI programmable drum machine.
Trots att “drum replacement”, att ersätta ljudet av en specifik trumma med ett förinspelat ljudklipp, har använts sedan 70-talet så är det först mot slutet av 2000-talets första decennium som mjukvarubaserade trumbibliotek, så som Toontracks Superior Drummer 2.0 och Steven Slate Drums, har blivit ett populärt alternativ för faktiska truminspelningar inom musikproduktion. I och med den ökade populäriteten har många från musikvärlden protesterat och hävdat att en maskin aldrig kan ersätta en riktig trumslagare. Tanken med det här projektet var att göra en jämförande studie där jag analyserar och jämför olika aspekter av de båda alternativen - ett inspelat framförande med en riktig trumslagare och ett framförande programmerat i MIDI med en samplingsbaserad trummaskin - för att se huruvida en mänsklig trummis skulle kunna vara ersättningsbar. Resultaten visade, med hänsyn tagen till projektets begränsningar, att skillnaderna var för små för att ha något praktiskt värde och att en trummisen i det här scenariot därför kunde ersättas med en midiprogrammerbar trummaskin.
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Sikborn, Erixon Sanna. "Kunskapskrav och läromedel : om förutsättningarna för kvalitativt likvärdig undervisning i gitarr på estetiska programmet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1749.

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Sjöqvist, Carl. "Att välja gymnasium : en kvantitiv studie inför val till estetiska programmnet inriktning musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69861.

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Syftet med denna kvantitativa studie är att få veta mer om varför elever i val av gymnasieprogram väljer bort estetiska programmet musik. De samband som finns mellan betyg och gymnasieval och andra samband undersöks för att få insyn i detta område med utgångspunkt i elevernas åsikter genom enkät. I tidigare forskning är främst fokus på elevers gymnasieval, framtidsdrömmar och musikalisk identitet. Det finns också ett kapitel om musikutbildningens historia. Vidare presenteras i metodkapitlet hur enkäten formats, etiska frågor och genomförande. Studien resulterade i slutsatser om att de som var mest benägna att söka till estetiska programmet hade höga förväntningar på sitt betyg i musik. Trots detta var det ingen av de som deltog i enkäten som med säkerhet kunde svara på att de kommer söka till estetiska programmet med inriktning musik. Den pekar också på att de som var benägna att söka programmet valde bort det på grund av geografin eller viljan till annan yrkesinriktning.
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Klint, Ludvig. "Polypop : Polyrytmik i modern populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2818.

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I detta självständiga arbete undersöks hur polyrytmik kan användas i en populärmusikalisk kontext. Syftet med den här studien är att undersöka hur polyrytmik kan användas som grund för att skapa poplåtar. I inledningen presenteras ett antal exempel på hur polyrytmik förekommer i olika genrer. Metal och Jazz tas upp som exempel på musikaliskt avancerade genrer där polyrytmik är vanligt förekommande. Vidare problematiseras hur polyrytmen 4:3 fått ett stort genomslag i populärmusiken, medan andra polyrytmer ignoreras. I metodavsnittet redogörs för hur samplingar och programmerad musik användes i arbetet för att behålla fokus på det rytmiska. Resultatet av denna studie är den klingande delen av det här arbetet som består av sex stycken/låtar av popkaraktär som var och en bygger på en unik polyrytm. Två låtar innehåller sång och text, resterande är instrumentala stycken. Reflektioner som framkommer av resultatet är bland annat hur tempon påverkar om en polyrytm upplevs som musikalisk eller inte.
In this study polyrhythms are examined as a way of writing pop songs. The purpose of the study is to research how polyrhythms can be used to create music productions in the context of popular music. As an introduction a few examples are given as to how polyrhythms appear in different genres of music. Metal and Jazz are both examples of musically advanced genres which are known to use polyrhythms. The Polyrhythm 4:3 is presented as the most common polyrhythm appearing in pop music, while other polyrhythms are left unused. In the Method chapter the use of sampling and music programming in this study is described, and why this was the preferred method over live musicians and acoustic recordings. The result of this study is the sounding material i.e. the pieces of music that was created as a part of this thesis. A total of six songs were written, two songs include vocals and lyrics while the remaining four are instrumental tracks. Important reflections include the aspect of tempo, and how it changes whether polyrhythms are perceived as musical or understandable, in my opinion.
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.

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Pascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.

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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fulfilment and satisfaction enjoyed by our adolescents through music is not, however, reflected in the comparatively small number of students who choose or qualify to undertake music studies at high school. A study by the U.S. Department of Education (1988) cited by Patchen (1993, p.19) indicates that, while from Kindergarten to sixth grade 80% of students participate in music, in 7th and 8th grades this falls to 48% and by grades eleven and twelve only 9% of students participate in music classes.
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Birgestrand, Jönsson Matilda. "Ska vi starta från codan? : En kvalitativ studie om gehörs- och musiklära inom enskild instrumentalundervisning." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69624.

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I studien undersöks de inslag av gehörs- och musiklära som förekommer inom enskild instrumentalundervisning på gymnasiet. Studien baseras på videoobservationer i fyra instrumentlärares klassrum med deras respektive elever. Det är en ordinarie lektion som observerats där gehörs- och musikteoretisk kommunikation studerats. I resultatet redogörs ett förvånansvärt högt användande av gehörs- och musikteoretiska inslag i undervisningen. Lärare och elever kommunicerar med varandra genom ett gemensamt musikaliskt språk. Resultatet redogör även lärarnas förmåga att i stor utsträckning kombinera olika kommunikativa medel för att förmedla kunskap till sina elever.
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Books on the topic "Music programmers":

1

Sadun, Erica. The iOS 4 developer's cookbook: Core concepts and essential recipes for iOS programmers. Upper Saddle River, NJ: Addison-Wesley, 2012.

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Sadun, Erica. The iOS 5 developer's cookbook: Core concepts and essential recipes for iOS programmers. 3rd ed. Upper Saddle River, NJ: Addison-Wesley, 2011.

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Mitten, Christopher. Shawn Fanning: Napster and the music revolution. Brookfield, Conn: Twenty-First Century Books, 2002.

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Ottman, Robert W. Programmed rudiments of music. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1994.

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Great Britain. Department of Education for Northern Ireland. Music: Programmes of study and attainment targets. Bangor: Department of Education for Northern Ireland, 1992.

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E.B.U. Workshop for Producers and Directors of Children's Programmes (12th 1990 Oslo, Norway). Sound effects and music in children's programmes. Edited by Gautier Yves and European Broadcasting Union. Geneva: European Broadcasting Union, 1990.

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Worthing, Michelle Gratis. Elements of music: A programmed approach. 3rd ed. Dubuque, Iowa: W.C. Brown, 1989.

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Dorr, Joyce. Introductory music theory. Belmont: Wadsworth Pub. Co., 1995.

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Steinke, Greg A. Harmonic materials in tonal music: A programmed course. 9th ed. Upper Saddle River, NJ: Prentice Hall, 2002.

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Steinke, Greg A. Harmonic materials in tonal music: A programed course. Upper Saddle River, NJ: Pearson Education, 2010.

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Book chapters on the topic "Music programmers":

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Miranda, Eduardo Reck. "Music Fundamentals for Computer Programmers: Representation, Parametrization and Automation." In Quantum Computer Music, 21–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13909-3_2.

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Aróstegui, José Luis. "Evaluating Music Teacher Education Programmes." In Educating Music Teachers for the 21st Century, 1–14. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1_1.

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Laucirica, Ana. "Evaluating Music Teacher Education Programmes." In Educating Music Teachers for the 21st Century, 75–100. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-503-1_4.

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Rodríguez-Sánchez, Andrea, and Gloria Zapata-Restrepo. "Expedición Sensorial programme." In Music and Social Inclusion, 202–16. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003188667-18.

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Bäuml, Katharina. "»Meine Programme sollen Geschichten erzählen.«." In Alte Musik heute, 360–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-66600-5_32.

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Creech, Andrea, Maria Varvarigou, and Susan Hallam. "Supporting Musical Possible Selves in Programmes With Social Aims." In Contexts for Music Learning and Participation, 143–61. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48262-6_8.

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Margetts, Lisa. "A new staff development programme for international settings." In Intercultural Music Therapy Consultation Research, 60–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003215424-5.

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Welling, Roland. "Musik-Programme mit dem Computer erstellen." In Radio-Journalismus, 377–83. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-10796-3_45.

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Rodríguez-Sánchez, Andrea, Oscar Odena, and Alberto Cabedo-Mas. "Using sound ethnography to study a social music programme in Colombia." In Music and Social Inclusion, 217–29. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003188667-19.

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Frei, Katja. "Konzerthäuser." In Forum Musikvermittlung - Perspektiven aus Forschung und Praxis, 119–22. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839462614-018.

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Große Kulturinstitutionen brauchen Transformationsprozesse, die teilweise auch das Publikum mitgestaltet. Neben den in diesem Artikel genannten Praxisbeispielen ausdifferenzierter Programme für Kinder, Jugendliche und Erwachsene geht es zukünftig mehr denn je um institutionelle und inhaltliche Mitbestimmung, wenn auch die Konzerthäuser für möglichst viele Dialoggruppen relevant sein wollen. »Sharing Music« als angestrebter Vorsatz bedeutet dabei, Projekte und Programme auf Basis von vorhandenem Wissen und Erfahrungen beider Seiten (der Planenden und der Teilnehmenden) aufzubauen.

Conference papers on the topic "Music programmers":

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Ayres, José Eduardo, Pedro Arthur, Vitor Rolla, and Luiz Velho. "Procedural Music in Games." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10462.

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This workshop will bring to the audience an introduction to the Chuck audio programming language, to the Unity game engine within a hands-on experience how one can use such technologies to achieve a new level of immersion through procedural generated sounds responding to game events and visual effects. The workshop is intended to a broad audience ranging from programmers to ones with little to no knowledge in the field.
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Krug, Douglas Lusa, Reuel J. Kulibaba, Denis A. Linzmeyer, Chrystalla Mouza, and David C. Shepherd. "Inspiring Interest in Computing using Music: A Case Study on Students Lacking Prior Music Education." In Simpósio Brasileiro de Informática na Educação. Sociedade Brasileira de Computação - SBC, 2023. http://dx.doi.org/10.5753/sbie.2023.233821.

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Broadening interest in computer science is a major research goal of the 21st century. Many initiatives use traditional “hooks” to attract students, such as video games and robotics. Unfortunately, this tends to attract only those already interested in computer science. One alternative domain gaining momentum in computer science education research is music, which is showing interesting results with participants that have previous music knowledge. This paper presents a case study of teaching computer programming with music, in Brazil, to students with limited formal music experience. Through data collected in surveys, focus groups, and researchers’ observations, we show that in this context students can still learn and thrive as musical programmers.
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Burlet, Gregory, and Abram Hindle. "An Empirical Study of End-User Programmers in the Computer Music Community." In 2015 IEEE/ACM 12th Working Conference on Mining Software Repositories (MSR). IEEE, 2015. http://dx.doi.org/10.1109/msr.2015.34.

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Du Bois, Andre, and Rodrigo Ribeiro. "Combining Effects in a Music Programming Language based on Patterns." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10430.

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HMusic is a domain specific language based on music patterns that can be used to write music and live coding. The main abstractions provided by the language are patterns and tracks. Code written in HMusic looks like patterns and multi-tracks available in music sequencers, drum machines and DAWs. HMusic provides primitives to design and combine patterns generating new patterns. The objective of this paper is to extend the original design of HMusic to allow effects on tracks. We describe new abstractions to add effects on individual tracks and in groups of tracks, and how they influence the combinators for track composition and multiplication. HMusic allows the live coding of music and, as it is embedded in the Haskell functional programming language, programmers can write functions to manipulate effects on the fly. The current implementation of the language is compiled into Sonic Pi [1], and we describe how the compiler’s back-end was modified to support the new abstractions for effects. HMusic can be and can be downloaded from [2].
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Ivaniukovich, U. A., and A. S. Tsikhonchyk. "ORGANIZATION OF MUSIC THERAPY SESSIONS ON THE BASIS OF STREAMING DATA TRANSMISSION TECHNOLOGIES." In SAKHAROV READINGS 2022: ENVIRONMENTAL PROBLEMS OF THE XXI CENTURY. International Sakharov Environmental Institute of Belarusian State University, 2022. http://dx.doi.org/10.46646/sakh-2022-2-413-416.

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A streaming web service is proposed for organizing music therapy sessions based on cloud storage technologies to improve the mental and physical condition of patients. The service allows selecting musical compositions selected by experts for various situations, or creating individual playlists based on the needs and preferences of the user. The created software application includes a web version, as well as applications for Android and iOS mobile operating systems. For the iOS platform, the Swift language and the Docker and Kitura frameworks are used. For the Android platform, the Java language and the Spark and JBehave frameworks. Adobe Photoshop and Figma were used to implement the design of the application. In addition to programmers, a psychologist and music specialists are involved in the creation of the service.
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Akkermann, Miriam. "(Musik)instrument (im) Computer." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.102.

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The use of the computer as a sound generator is omnipresent in current music production and ranges from music notation programs playing back samples via MIDI control to specially programmed sound synthesis programs. The term ‚computer‘ is generally understood as a complete set of hardware and software. But a closer look at this complete set is definitely worthwhile and poses some systematical challenges. In the early days of digital sound synthesis in real time, the hardware is strongly connected to the resulting sound. The control was done by means of a programming language or a specially designed software, which offered more or less possibilities of intervention, depending on the stage of development. But do these sound generators actually fulfill the definition of a musical instrument – and what exactly is that definition? What about the so-called software instruments, which, partly hardware-independent, allow users to play music? How can and should interfaces be classified seeing that hardware extensions developed specifically for musical use, but still need (special) software and other technical equipment for sound generation and, above all, output? And who actually decides on the sound and handling of the new instrument, since the integration of computers into musical works usually takes place in close cooperation between composers, musicians, engineers and programmers? In order to be able to discuss these questions, not only new methodological approaches but also cooperation between the disciplines is unavoidable and at the same time rewarding.
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Goldbach, Dumitru, Iuliana Cetina, and Natalia Manea. "ACADEMIKA- ONLINE LEARNING PLATFORM." In eLSE 2018. ADL Romania, 2018. http://dx.doi.org/10.12753/2066-026x-18-057.

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Worldwide, online learning has reached a significant degree of development. Unfortunately, in Romania this modern way of training is at the beginning, despite the fact that we have a top IT industry, high internet speed and a significant percentage of internet users. In the last few years, several steps have been taken to develop online learning by creating several more important platforms, including www.academika.ro. Even if it is not very used, the platform can compete with any global platform due to its potential and architecture. The mission of the online learning platform Academika is to bring together teachers, students, trainers, experts, self-governments and other categories of beneficiaries in a virtual space where everyone involved can win. The main sections for the user are: profile, diplomas, groups, learning, teaching, messages and wallet. Courses are structured into categories, namely: Academics; Business; Design; Development; Health & Fitness; IT & Software; Language; Lifestyle; Marketing; Music; Office productivity; Personal development; Photography. Some of the courses are offered free of charge, others are paid or certain discounts. Courses are for both beginners and advanced learners, namely: rookie, beginner, intermediate, advanced, elite. The courses are in Romanian, English and Spanish, with the possibility of adding other languages. The big advantage of the Academika platform is that the team of programmers has also built an online learning platform, being one of the most successful platforms in the world. This helps to avoid some functionality issues. As a development strategy, all the universities in the country will be approached, where platform presentations will be realized and collaboration protocols will be concluded. Teachers will be able to offer a modern way of teaching, posting their courses or books. It is very interesting that the platform offers the possibility of interaction between the teacher and the student in real time through live streaming. After loading the platform with materials, the platform will be promoted among both students and other users.
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King, Rob. "‘Music of the People’: Music From Data as Social Commentary." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.007.

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Data-music reflects the ubiquity of data in modern society. Composers have not engaged widely with the opportunities opened up by this, despite the chance to overcome a gulf between academic art music and social engagement. Their reluctance might be traced to the challenge of reconciling abstract data and concrete sound, in political implications, and in technological barriers in computer music. The present paper argues that socially relevant music composition for the 21st century can adopt a programme of sonification grounded in politically acute data. As examples of such practice, two compositions are discussed founded upon US and UK social data sets, and realised via the SuperCollider programming language. The consequences for the composer of new music are further discussed from political and musicological angles, with the ‘purpose’ of writing such music analysed from the perspective of various commentators.
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Begić, Amir, Jasna Šulentić Begić, and Ivana Pušić. "NASTAVA GLAZBE I DJECA S DOWNOVIM SINDROMOM." In Persons with disabilities in arts, science and education. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2024. http://dx.doi.org/10.59014/kflt6075.

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Music is often used in the upbringing and education of children with Down syndrome because of the different possibilities for achieving developmental and therapeutic goals. Music has been found to favour the emotional development of children with Down syndrome, especially in identifying and recognizing emotions. Additionally, actively engaging in music for children with Down syndrome has positive effects on the acquisition and development of socio-emotional, motor, cognitive, and communication abilities and skills and helps them with self-organizing and encouraging their social interaction. Namely, music can facilitate parent-child interaction with Down syndrome and increase a child’s attachment to their parents. In addition, music can stimulate the psycho-emotional expression of children with Down syndrome, which is reflected through thinking, concentration, reasoning, and mood. Children with Down syndrome are happy to participate in musical activities, and respond well to music, and want to participate in group musical activities. Teaching music is especially useful for both learning and class interaction because music and musical activities will increase the self-esteem of a child with Down syndrome. In this paper, we will present the observations obtained through the case study procedure, i.e. the systematic observation of a student with Down syndrome in the teaching of the subject of Music Culture during the three school years, i.e. from 2018/19 until 2020/21. The student, along with a teaching assistant, currently attends the eighth grade in a Slavonian school and studies according to the regular teaching programme with the adjustment of content and individualized procedures in all subjects. We will present the peculiarities of her school learning as well as the educational needs that served as a starting point in creating an individualized curriculum in the subject of Music Culture. Through systematic observation and research diary, we monitored the development of abilities as well as the acquisition of knowledge and skills of the student during the teaching of the subject Music Culture, and we will present learning strategies and sociological forms of work that we applied in working with students.
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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 programmers":

1

Raychev, Nikolay. Can human thoughts be encoded, decoded and manipulated to achieve symbiosis of the brain and the machine. Web of Open Science, October 2020. http://dx.doi.org/10.37686/nsrl.v1i2.76.

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This article discusses the current state of neurointerface technologies, not limited to deep electrode approaches. There are new heuristic ideas for creating a fast and broadband channel from the brain to artificial intelligence. One of the ideas is not to decipher the natural codes of nerve cells, but to create conditions for the development of a new language for communication between the human brain and artificial intelligence tools. Theoretically, this is possible if the brain "feels" that by changing the activity of nerve cells that communicate with the computer, it is possible to "achieve" the necessary actions for the body in the external environment, for example, to take a cup of coffee or turn on your favorite music. At the same time, an artificial neural network that analyzes the flow of nerve impulses must also be directed at the brain, trying to guess the body's needs at the moment with a minimum number of movements. The most important obstacle to further progress is the problem of biocompatibility, which has not yet been resolved. This is even more important than the number of electrodes and the power of the processors on the chip. When you insert a foreign object into your brain, it tries to isolate itself from it. This is a multidisciplinary topic not only for doctors and psychophysiologists, but also for engineers, programmers, mathematicians. Of course, the problem is complex and it will be possible to overcome it only with joint efforts.
2

Taela, Kátia, Taela, Kátia, Euclides Gonçalves, Catija Maivasse, and Anésio Manhiça. Shaping Social Change with Music in Maputo, Mozambique. Institute of Development Studies (IDS), February 2021. http://dx.doi.org/10.19088/ids.2021.020.

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In Mozambique, development programmes have traditionally drawn on music as a means to promote social transformation by educating citizens on key social development issues. Shifting the focus from music as a teaching medium to music as a rich source of information can provide vital insights into public opinion and political ideas, and significantly impact the development of citizen engagement projects. Maximum gains for development and civil society agencies can be achieved by mainstreaming gender into mutual learning activities between singers, audiences, and academics.
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Rysjedal, Fredrik. Frozen Moments in Motion. Universitetet i Bergen KMD, January 2019. http://dx.doi.org/10.22501/kmd-ar.31524.

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What are the concepts of motion in digital comics? What types of motion can be used in comics and how does motion affect the presentation, the story and even the reader/viewer? This project is a part of the Norwegian Programme for Artistic Research, and it's executed at the Bergen Academy of Art and Design, today called Faculty of Fine Art, Music and Design at the University of Bergen.

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