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Journal articles on the topic 'Music technology and recording'
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Guo, Tingjun. "Application of Internet of Things Technology in Vocal Music Teaching Recording Equipment Assisted by Machine Learning." Wireless Communications and Mobile Computing 2022 (April 25, 2022): 1–10. http://dx.doi.org/10.1155/2022/2091387.
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Vocal music teaching is a professional, technical, and practical subject. It is also an important part of music and art education and has certain social and educational significance. In vocal music teaching, recording equipment is an essential teaching tool. It plays a pivotal role in vocal music teaching. In recent years, with the rapid development of China’s social economy, education has also achieved great development, and it has also brought development opportunities to vocal music education. More and more advanced technologies and equipment have appeared to assist the smooth progress of vocal music teaching, especially recording equipment. This paper is aimed at studying the application of IoT technology in vocal music teaching recording equipment assisted by machine learning. Combined with machine learning and Internet of Things technology, the experiment of recognition effect of vocal music teaching recording equipment was carried out. It designs an end-to-end vocal music teaching recording device recognition model based on the Internet of Things technology assisted by machine learning. The experimental results show that the use of this model improves the recording recognition accuracy of vocal music teaching recording equipment by 20%.
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Guo, Tingjun. "Application of Internet of Things Technology in Vocal Music Teaching Recording Equipment Assisted by Machine Learning." Wireless Communications and Mobile Computing 2022 (April 25, 2022): 1–10. http://dx.doi.org/10.1155/2022/2091387.
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Vocal music teaching is a professional, technical, and practical subject. It is also an important part of music and art education and has certain social and educational significance. In vocal music teaching, recording equipment is an essential teaching tool. It plays a pivotal role in vocal music teaching. In recent years, with the rapid development of China’s social economy, education has also achieved great development, and it has also brought development opportunities to vocal music education. More and more advanced technologies and equipment have appeared to assist the smooth progress of vocal music teaching, especially recording equipment. This paper is aimed at studying the application of IoT technology in vocal music teaching recording equipment assisted by machine learning. Combined with machine learning and Internet of Things technology, the experiment of recognition effect of vocal music teaching recording equipment was carried out. It designs an end-to-end vocal music teaching recording device recognition model based on the Internet of Things technology assisted by machine learning. The experimental results show that the use of this model improves the recording recognition accuracy of vocal music teaching recording equipment by 20%.
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Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview." Journal of Humanities,Music and Dance, no. 24 (July 28, 2022): 14–24. http://dx.doi.org/10.55529/jhmd.24.14.24.
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The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.
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Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview." Journal of Humanities,Music and Dance, no. 24 (October 17, 2022): 14–24. http://dx.doi.org/10.55529/jhmd24.14.24.
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The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.
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Irawan, Ricky. "Aktor Lokal, Industri Rekaman Musik, dan Musik Daerah: Peran dan Kontribusi Hila Hambala pada Gitar dan Gambus Tunggal Lampung Pesisir." Journal of Music Science, Technology, and Industry 5, no. 1 (April 30, 2022): 25–47. http://dx.doi.org/10.31091/jomsti.v5i1.1973.
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Purpose: This article aims to examine the progress of music recording technology in cassette form and the role of local actors, encouraging the development and giving shape to the toponymy of Lampung regional music today. Research Method: through a diachronic perspective, the author focuses on Hila Hambala, a musician, composer of Lampung-language songs, who is also widely known as an important figure in the development of guitar and gambus tunggal Lampung Pesisir, and Lampung dangdut. Several issues will be discussed, including: the learning process, the music environment, and Hila Hambala's involvement in music recording (in Jakarta and Lampung) since the early 80's which resulted in recordings of her works in the form of audiocassettes and video compact discs. Results and Discussion: Hila Hambala's involvement since the 80s in regional music and popular music from the Lampung region has not only boosted the popularity of his name and works, but in turn has also helped to define and shape the landscape of local music in Lampung, namely guitar and gambus tunggal of coastal Lampung. Implication: This research contributes to the discourse on the role and implications of modernity through advances in music recording technology having an impact on regional music.
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Manning, Peter. "The Influence of Recording Technologies on the Early Development of Electroacoustic Music." Leonardo Music Journal 13 (December 2003): 5–10. http://dx.doi.org/10.1162/096112104322750719.
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From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik
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Andiko, Benny, Benni Andika, and Sabri Gusmail. "ANALISIS PROSES PEREKAMAN MUSIK DENGAN METODE DIGITAL DI SANGGAR BUANA BANDA ACEH MASA PANDEMI CIVID-19." Gorga : Jurnal Seni Rupa 11, no. 2 (December 30, 2022): 538. http://dx.doi.org/10.24114/gr.v11i2.38737.
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This research is entitled "Analysis of Music Recording Process with Digital Methods in Sanggar Buana Banda Aceh during the COVID-19 Pandemic". This study aims to determine the process of recording music using the Digital Method at Sanggar Buana Banda Aceh during the Covid-19 Pandemic. The tracking process of music recording on each instrument is recorded in the track.The overdub process is done by adding a new recording at the same time as the previously made recording is being played.The editing process uses an audio editor to enhance certain parts. The mixing process balances and combines the recorded tracks by prioritizing the principle of necessity. The equalizing process creates the sound character of traditional musical instruments based on the concept of sound frequency. The sound effect process provides an effect to strengthen the sound character of traditional musical instruments. The mastering process sets the standard volume, adjusts the frequency, removes or reduces effects that interfere with the character of the sound, balances and finalizes the audio as a whole. The research method used in this research is qualitative research as a research procedure that produces descriptive data in the form of written information and analysis using Studio One 5 software. The stages of data collection are: observation; literature review; interviews and documentation. The results and discussion of this research are; digital music recorder at Sanggar Buana Banda Aceh using digital recording equipment as follows; the Warm Audio WA 47 JR condenser microphone uses ambient miking techniques, the Focusrite Scarlett 18i8 3rd Gen audio interface; uses a multitrack recording technique with separate vocal tracks from Rapa'i; medium for delivering vocals and Rapa'i; the storage media is PreSonus Studio One 5 software. The recording process with the stages of tracking, overdub, editing, mixing, equalizing, sound effects and mastering.Keywords: analysis, recording process, music, sanggar buana. AbstrakPenelitian ini berjudul “Analisis Proses Perekaman Musik dengan Metode Digital di Sanggar Buana Banda Aceh pada Masa Pandemi COVID-19”. Penelitian ini bertujuan untuk mengetahui Proses Perekaman Musik dengan Metode Digital di Sanggar Buana Banda Aceh pada Masa Pandemi COVID-19. Proses tracking dari perekaman musik pada setiap instrument direkam dalam track. Proses overdub dilakukan dengan menambahkan rekaman baru pada saat yang bersamaan dimainkan rekaman yang telah dibuat sebelumnya. Proses editing menggunakan audio editor untuk menyempurnakan bagian tertentu. Proses mixing menyeimbangkan dan menggabungkan track rekaman dengan mengutamakan prinsip kebutuhannya. Proses equalizing menciptakan karakter bunyi dari alat musik tradisi berdasarkan konsep frekuensi bunyi. Proses sound effect memberikan efek untuk memperkuat karakter bunyi dari alat musik tradisi. Proses mastering menetapkan standar volume, mengatur frekuensi, menghilangkan atau menurunkan efek yang mengganggu karakter bunyi, menyeimbangkan dan finalisasi audio secara utuh. Metode penelitian yang digunakan dalam penelitian ini adalah penelitian kualitatif sebagai prosedur penelitian yang menghasilkan data deskriptif berupa informasi tertulis dan analisis menggunakan software Studio One 5. Tahapan pengumpulan data yaitu: observasi; studi pustaka; wawancara dan dokumentasi. Hasil dan pembahasan dari penelitian ini yaitu; perekam musik dengan metode digital di Sanggar Buana Banda Aceh menggunakan peralatan rekaman digital sebagai berikut; microphone condenser Warm Audio WA 47 JR menggunakan teknik ambient miking, audio interface Focusrite Scarlett 18i8 3rd Gen; menggunakan teknik perekaman multitrack dengan track vokal terpisah dari Rapa’i; media penyampai vokal dan Rapa’i; media penyimpan yaitu software PreSonus Studio One 5. Proses rekaman dengan tahapan tracking, overdub, editing, mixing, equalizing, sound effect dan mastering.Kata Kunci: analisis, proses perekaman, musik, sanggar buana. Authors:Benny Andiko : Institut Seni Budaya Indonesia AcehBenni Andika : Institut Seni Budaya Indonesia AcehSabri Gusmail : Institut Seni Budaya Indonesia Aceh References:Andiko, B & Denada, B. (2021). Analisis Timbre Rapa’i Buatan Fajar Siddiq di Desa Kayee Lheu, Kecamatan Ingin Jaya, Kabupaten Aceh Besar (Kajian Musik Multimedia). Gorga: Jurnal Seni Rupa¸10(02), 495-507. https://doi.org/10.24114/gr.v10i2.28382.Audio, W. (2022). Cardioid Condenser Microphone WA 47-jr. https://warmaudio.com/wa47jr/ (diakses pada 8 Agustus 2022).Focusrite, F. (2022). Audio Interface Focusrite Scarlett 18i8 3rd Gen. https://focusrite.com/en/usb-audio-interface/scarlett/scarlett-18i8 (diakses pada 10 Agustus 2022).Huber, D. M,. & Runstein, R. E. (2017) Modern Recording Techniques. Routledge: Focal Press.Lefaan, A.Y. (2010). Studio Rekaman Musik Di Yogyakarta. Skripsi. Yogyakarta: Universitas Atma Jaya Yogyakarta. https://doi.org/10.24114/gr.v10i2.28382.Moleong, L. J. (1995). Metodologi Penelitian Kualitatif. Bandung: PT. Remaja Rosdakarya.Sukman, F. F., & Gusmail, S. (2019). Eksistensi Tari Ratoh Bantai di Sanggar Buana Banda Aceh. Jurnal Ekspresi Seni, 21(2). http://dx.doi.org/10.26887/ekspresi.v21i2.961.Walzer, D. A. (2016). Software-Based Scoring and Sound Design. Music Educators Journal, 103(1), 22-36. https://journals.sagepub.com/doi/10.1177/0027432116653449.Wirandi, R., Permata, M. M. B., & Denada, B. (2020). Sistem Tata Kelola Grup Rapa’i Daboh Bungong Jeumpa Bantimoh di Kawasan Pemukiman Pasca Tsunami Aceh, Care, Kota Jantho. Gorga: Jurnal Seni Rupa, 9(2), 347-358. https://doi.org/10.24114/gr.v9i2.20659.
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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.
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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.
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WESTERN, TOM. "‘The Age of the Golden Ear’:The Columbia World Libraryand Sounding out Post-war Field Recording." Twentieth-Century Music 11, no. 2 (July 30, 2014): 275–300. http://dx.doi.org/10.1017/s1478572214000103.
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AbstractThis article responds to Alan Lomax's pronouncement that the mid-twentieth century constituted ‘the age of the golden ear’, when ‘a passionate aural curiosity overshadowed the ability to create music’. It examines a project born out of Lomax's own aural curiosity and his foregrounding of recording technology – theColumbia World Library of Folk and Primitive Music(1955) – using it to sound out the history of mid-century ethnographic field recording. By retracing the production of theWorld Library, this article explores the various agencies compressed into the audible exteriors of field recordings, as they were produced by and for specific technologies and formats, circulated through international networks, and as they became part of the aural public sphere of post-war Europe. It concludes by considering some of the implications of this sonic labour as field recordings find their way into new, digital, listening environments.
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Thompson IV, William A., and Jeffrey Albert. "Baghdad Music Journal: A Soldier’s Move toward Technology in Music." Leonardo Music Journal 25 (December 2015): 68–72. http://dx.doi.org/10.1162/lmj_a_00938.
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The author was deployed to Iraq as a member of the U.S. Army National Guard in April 2004. He left his acoustic piano roots and embraced electronic music as a way to stay involved with music during his deployment. While deployed in Iraq, Thompson recorded and released a CD entitled Baghdad Music Journal (BMJ). The soldier’s recording was made and released while he was deployed to an active war zone and is a document of his experience. Describing his time in Iraq, he discusses how it has changed his musical practice.
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Hughes, Alayna. "Maker music: Incorporating the maker and hacker community into music technology education." Journal of Music, Technology & Education 11, no. 3 (December 1, 2018): 287–300. http://dx.doi.org/10.1386/jmte.11.3.287_1.
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Music Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out on learning other technologies and career paths that could benefit them. I would argue that by not updating the topics in music technology education that this has contributed to the stale output of the music industry within changing times. By incorporating topics such as microcontrollers, interaction and programming, students could discover new ways to work with music and learn skills that will give them more career opportunities. This article will discuss the ideals of the maker and music hacking movement, current pedagogy in Music Production and Technology degree programmes in the United States and United Kingdom and European Union, and the advantages of merging invention and DIY education into the current music technology and music production pedagogy.
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Nakajima, Heitaro, and Takeaki Anazawa. "PCM Recording-Its Development and Introduction into Music Recording." Journal of the Institute of Image Information and Television Engineers 58, no. 9 (2004): 1229–32. http://dx.doi.org/10.3169/itej.58.1229.
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Maglov, Marija. "Past music, future music: Technology and music institutions in the 20th century." New Sound, no. 48-2 (2016): 53–64. http://dx.doi.org/10.5937/newso1648053m.
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In his text Technology and the Composer Pierre Boulez writes about new technologies that emerged in the 20th century, primarily created for the purposes of music recording and reproduction, but also established as a means of innovation in electronic and electro-acoustic music practice. Boulez points to two directions where technology and music are in question: conservative historicism and progressive technology, enabling the development of new music material and innovation. By using Boulez's text(s) as a point of departure, the author considers the roles those new technologies had in the development of some musical institutions and questions how institutionalized discourse molds ideas on the roles music technology should have. The aim of the paper is to discuss how the music of the past was 'conserved' and how the music of the future was created in particular types of music institutions thanks to new technological possibilities.
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Clauhs, Matthew, Brian Franco, and Radio Cremata. "Mixing It Up: Sound Recording and Music Production in School Music Programs." Music Educators Journal 106, no. 1 (September 2019): 55–63. http://dx.doi.org/10.1177/0027432119856085.
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Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.
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Voss, Brett. "Design principles for music technology education support: Just-in-time learning in the recording studio using mobile technologies." Journal of Music, Technology and Education 14, no. 1 (April 1, 2022): 21–42. http://dx.doi.org/10.1386/jmte_00032_1.
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Popular music education involves engaging students with using a range of music technologies found in recording studios, through utilization of multiple hardware and software devices to enable the recording process. Student users can struggle to keep up with the volume of knowledge required to operate these environments to their full potential. Providing just-in-time learning resources to support these students could improve student learning through augmenting gaps in their knowledge. Just-in-time learning is the provision of active learning opportunities that engage learners with skill development as part of the working process. This approach to supporting music technology education was trialled within a programme teaching popular music. The research found that students welcomed the provision of just-in-time learning opportunities delivered through a mobile phone application and that this suited their learning approach in the recording studio. This article suggests that mobile learning resources can benefit the curriculum of programmes working with music technology. The study was conducted using a design-based research methodology with students within a conservatorium teaching popular music. This popular music programme heavily utilized the recording studio as a learning and teaching tool, requiring students to engage with music technology routinely. Thirty students from all year levels of the undergraduate programme participated in the research project through surveys and focus groups. The research involved iterative cycles of mobile application design and testing over an eighteen-month period. Previously, a pilot study identified that students felt that on-demand learning opportunities delivered through mobile devices would be beneficial to their learning. The research from the design and testing of the mobile application evolved a series of design principles, which could be used as a guide for developing just-in-time resources to support music technology education.
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Reza, Amra, DJ Dimas Phetorant, and Demi Tatipikalawan. "Metode Uploading sebagai Sarana Pertunjukan Musik Online: Studi Kasus Duo Guitar Dumotsiny." Journal of Music Science, Technology, and Industry 5, no. 2 (November 27, 2022): 199–211. http://dx.doi.org/10.31091/jomsti.v5i2.2132.
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Purpose: Technology provides color and a new way of viewing music. Music performances that originally relied on physical and communal meeting rooms had to adapt to social distancing policies due to the pandemic. This condition attracted the attention of researchers to observe the dynamics of the lives of art workers in the field of music. Research methods: Researchers observe musical performances that are displayed on several digital media platforms. Many of the artists who use the uploading method. The research method used is qualitative using a case study approach with the subject of the guitar duo Dumotsiny. Results and discussion: As a result, online music performances can be done by uploading by recording audio and video separately or by recording audio and video simultaneously. Implication: In music, every era always experiences changes in technology.
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Fukada, Akira. "The Microphone Technique for Music Recording." Journal of The Institute of Image Information and Television Engineers 64, no. 9 (2010): 1344–48. http://dx.doi.org/10.3169/itej.64.1344.
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Canyakan, Seyhan. "Music technologist paradigms in music technology educationMüzik teknolojisi eğitiminde müzik teknoloğu paradigması." Journal of Human Sciences 14, no. 4 (January 2, 2018): 4838. http://dx.doi.org/10.14687/jhs.v14i4.5013.
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AimThe aim of this study is to inform the individuals who will prefer career steps for the departments because of the fact that music technology education in our country is not yet widespread on license basis and to give information about the field and to explain what career stages can be after graduating from department. In addition, a subordinate purpose of the study is to determine the qualities of the technologist candidate prepared for the music technology and to help him to prepare the appropriate qualities.MethodIt is one of the biggest misconceptions encountered today that music technology education is only concerned with dealing with voice recordings or with tone. As a result of this study, it is tried to be explained that the related education is divided not only into these two fields but also to more than one subfield. For this reason, discussions were held on what should be the career orientations of the music technology that benefited from the ideas of Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011) and D'Escriv'an (2012). The method used in this study contains qualitative research methods as well as literature review.ResultAs a result of this research, music technology education has been seen as an indispensable element in today's music industry and it has resulted in a wide range of fan business opportunities from music supervisor, music composer, foley artist to music technologist who is not only on voice recording and tone recording. As a result of the study, it is concluded that preliminary studies have been completed that individuals who plan career in the field of music technology education will have more knowledge about their fields of study.Extended English abstract is in the end of Full Text PDF (TURKISH) file. ÖzetAmaçBu çalışmanın amacı, ülkemizde müzik teknolojisi eğitimi lisans bazında henüz yaygın olmaması nedeniyle bölümlerle ilgili kariyer basamaklarını tercih edecek bireylere alan ile ilgili bilgi vermek, bölümünden mezun olduktan sonra hangi kariyer basamaklarında olabileceklerini açıklamaktır. Ayrıca çalışmanın bir alt amacı müzik teknolojisine hazırlanan teknolog adayının sahip olması gereken niteliklerin belirlenmesi ve bu niteliklere uygun hazırlığını sağlamasına yardımcı olmaktır.YöntemGünümüzde müzik teknolojisi eğitiminin yalnız ses kayıt işiyle uğraşmak ya da tonmaystır olmakla ilgili olduğu sorunsalı karşılaşılan en büyük yanlış anlaşılmalardan biridir. Bu çalışma sonucunda ilgili eğitimin sadece bu iki alanla değil birden fazla alt alana ayrıldığı anlatılmaya çalışılmıştır. Bu nedenle Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011), D’Escriv´an’ın (2012) fikirlerinden yararlanılmış ve müzik teknolojisi eğitimi gören müzik teknoloğunun kariyer yönelimlerinin ne olması gerektiğiyle ilgili tartışmalar yapılmıştır. İlgili bu çalışmada kullanılan yöntem Literatür taramasının yanısıra nitel araştırma yöntemlerini içerisinde barındırmaktadır.SonuçYapılan bu araştırma sonucunda müzik teknolojisi eğitiminin günümüz müzik endüstrisi içerisinde vazgeçilmez bir unsur olduğu görülmüş, müzik teknoloğunun işinin sadece ses kayıt ve tonmaysterlik üzerine olmadığı müzik süpervizörlüğünden, besteciliğe, foley artistine kadar çok geniş yelpazade iş olanaklarının olduğu sonucuna varılmış, müzik teknolojisi eğitimi alanında kariyer planlayan bireylerin çalışma alanları hakkında daha çok bilgi sahip olacağı öngürüsüyle çalışma tamamlanmıştır.
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Devine, Kyle. "Decomposed: a political ecology of music." Popular Music 34, no. 3 (September 8, 2015): 367–89. http://dx.doi.org/10.1017/s026114301500032x.
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AbstractThis article is about what recordings are made of, and about what happens to those recordings when they are disposed of. It inscribes a history of recorded music in three main materials: shellac, plastic and data. These materials constitute the five most prevalent recording formats since 1900: 78s, LPs, cassettes, CDs and MP3s. The goal is to forge a political ecology of the evolving relationship between popular music and sound technology, which accounts not only for human production and consumption but also material manufacture and disposal. Such an orientation is useful for developing an analytical framework that is adequate to the complexities of the global material–cultural flows in which the recorded music commodity is constituted and deconstituted. It also strives towards a more responsible way of thinking about the relationship between popular music's cultural and economic value, on the one hand, and its environmental cost, on the other.
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FLAM, Gila. "Abraham Zwi Idelsohn ve Robert Lachmann: İsrail Ulusal Ses Arşivi'nin Entelektüel ve Pratik Kurucuları." MSGSÜ Sosyal Bilimler, no. 27 (May 30, 2023): 148–58. http://dx.doi.org/10.56074/msgsusbd.1306805.
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The field of Jewish Music research originated at the beginning of the twentieth century, when Abraham Zwi Idelsohn came to Jerusalem and began to document oral traditions of Jewish oriental communities in music transcriptions and sound recordings. Idelsohn's pioneering work set the ground for further research and recording of Jewish music. In 1935 a German-Jewish musicologist, Robert Lachmann, continued Idelsohn's work, and recorded the traditions of Jews, Arabs, and other communities living in Jerusalem and Palestine at the time. The emphasis of both of their work was on liturgical, traditional music transmitted orally and reflected ancient Jewish music. In 1965, the National Sound Archives was established in the National Library of Israel, and researchers continue to record traditional music along with popular music and other genres of music. In this paper, I claim that, despite the developments in technology and the production of popular music, the center of the National Sound Archives’ work remained loyal to its intellectual and practical founders.
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Crawford, Jeanette. "Recording "Computer Music Journal" for the Blind." Computer Music Journal 10, no. 2 (1986): 6. http://dx.doi.org/10.2307/3679477.
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Suyasa, I. Made Rai Nurcahya Widhiantara, and Agus Fredy Maradona. "Capturing the Face of the Music Industry's Business Strategy." International Journal of Science and Society 5, no. 4 (August 28, 2023): 1–16. http://dx.doi.org/10.54783/ijsoc.v5i4.760.
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This research aims to Photograph the Face of Music Industry Business strategy by identifying external and internal factors that affect the music industry business model in Bali. And to find out the use of the Business Model Canvas (BMC) approach in the music industry in Bali. The method used in this research is descriptive-qualitative. The data collection used interviews and documentation. The results of the analysis show that the strengths of the music industry in running the business are quality equipment, a wide range of customers, and a diverse customer base. The weaknesses owned by the music industry in Bali are the rapid pace of audio technology, meaning that more and more people can make their own recordings with easily accessible applications. Related to the threats faced by the music industry in Bali are Affordable recording equipment and ease of use. In the development of the canvas business model from the value proposition point of view, the music industry in Bali can use remote services and advanced technology. This is done by the manager of the music industry in Bali so that it continues to exist to get through times of crisis such as the COVID pandemic.
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Symes, Colin. "Beating up the classics: aspects of a compact discourse." Popular Music 16, no. 1 (January 1997): 81–95. http://dx.doi.org/10.1017/s0261143000000702.
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Although much has been written about the changes wrought to art in the age of mechanical reproduction, these same changes as they have impacted on music through the phenomenon of the phonograph have not received equivalent attention or, if they have, then their discussion has been restricted to particular sectors of the music industry. This failure to address an important facet of contemporary music practice derives from a continuing tendency to abstract musical questions from their context and to obscure the material contributions that technology makes to such practice (Shepherd 1977, 1991; Scott 1990). With some musics this is more apparent than others. For instance, while there has been an extensive analysis of the degree to which the recording industry has influenced and been an integral element in the development of popular music, there has not been an equivalent analysis of its influence on classical music. This is because in the case of the former the links between the two have been somewhat more dramatic. The recording industry, particularly through its links with radio and television stations, has in large measure facilitated the spread of popular music across the world as a dominant element of a globalised culture, as one of its master codes.
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Eren, Hakki Cengiz, and Emine Kıvanç Öztuğ. "The implementation of virtual choir recordings during distance learning." Cypriot Journal of Educational Sciences 15, no. 5 (October 29, 2020): 1117–27. http://dx.doi.org/10.18844/cjes.v15i5.5159.
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This study investigates the implementation of virtual choir recordings in a choir class during distance learning. In this particular study, a virtual choir is defined to be a computer-generated sound recording that emulates a realistic choir sound. Students practiced their parts using virtual choir recordings for a period of eight weeks; each student received a recording that excluded his/her own part but included the rest of the parts. After eight weeks of progressive study, students recorded their own voices on top of the virtual choir recordings and submitted them as final projects. Student opinions regarding the virtual choir recordings were obtained through a 12-question survey. In addition, two experts evaluated the final submissions turned in by the students. The data suggests that virtual choir recordings can be helpful to students with efficiency of practice and can provide a suitable audio environment to foster conscious-listening, accurate intonation and perception of pacing. Improvements are suggested to make the virtual choir recordings also more encouraging of musicality, highlighting its future potential not only as a reliable distance education tool, but also as a supplementary device for real-life choir classes, when in-person learning resumes.
Keywords: music education, distance learning, choir, virtual choir, music technology
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Watson, Ben. "Frank Zappa as dadaist: recording technology and the power to repeat." Contemporary Music Review 15, no. 1 (January 1, 1996): 109–37. http://dx.doi.org/10.1080/07494469600640401.
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Velikova, M., and T. Radev. "MUSIC-COMPUTER TECHNOLOGY SOUND RECORDING ENRICHES STUDENTS' MUSIC KNOWLEDGE AND SKILLS IN AN EXTRACURRICULAR LEARNING ENVIRONMENT." Trakia Journal of Sciences 21, no. 2 (2023): 93–98. http://dx.doi.org/10.15547/tjs.2023.02.003.
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The development of modern society requires the application of new forms of presentation of educational content in order to build personality and form a generation of creative people. It’s necessary that the approach and forms of the structure of the learning process to stimulate students’ development to the maximum extent. Attracting students’ attention and stimulating their activity by presenting the learning content most effectively is a challenge for the teacher. This way, their interest should be increased and they should acquire lasting, long-term knowledge in Art music. This report presents the possibilities of consolidating and enriching students' knowledge and skills in the academic discipline Music outside the traditional music lesson. The research presents the benefit of education through music computer technology Sound Recording in a recording studio for students aged 10-16 as a part of their scheduled observation hours in extracurriculum learning environment. The aim is to increase students' interest in music as an art and to support the gaining of new knowledge. In this way, the students will be provoked to get to know their surroundings in full. At the same time, the research is an example of successful good practice to motivate and support music teachers with new practical ideas.
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Musib, Ahmad Faudzi. "Extracting Audio Signals from 4-Track Analogue Tape and Digital Standalone Multitrack Machine Material as a Part of Preservation." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (June 30, 2020): 25–38. http://dx.doi.org/10.30819/aemr.5-4.
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In facing ever-growing technology of audio peripherals, there is a concern of balancing in delivering technical knowledge to students dealing with audio recordings in the Music Department at Putra University, Malaysia (UPM). It seems to be difficult for them to do current multitrack recordings and at the same time maintaining the aesthetic aspect of past technology. In other words, if one preserves the recorded item, they have also to care about the specific features coming with these recordings. It is not the primary recorded subject alone they may have to consider. There is an urgency to migrate the recorded material such as cassette tapes that come in varying forms ranging from Ferric-Oxide, to Cro2, and Metal. These carriers are warranted to be extracted and migrate onto a more stable medium, not only in general as everywhere in the world, but also since it has become the university policy that equipment’s exceeding certain years will be disposed of. The selection focuses on the recording materials that includes live musical performances, multitrack musical compositions, and final recording projects. In this context the ‘recording’ may just mean the audio information. It is important for any archive to establish a general policy with regard to the limits of its collection as was pointed out repeatedly (Schuursma, 2010). Viewing from the perspective of preservation (Musib, 2015) of content, a lack of awareness in handling these carriers may lead to complications when extracting the signal from still available machines. The paper is intended to discuss the challenges and requirements in the process of signal extractions using exemplarily the two formats, namely the 4-track recorder and the digital standalone multitrack machine.
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Porcello, Thomas. "Music Mediated as Live in Austin: sound, technology, and recording practice." City Society 14, no. 1 (January 2002): 69–86. http://dx.doi.org/10.1525/city.2002.14.1.69.
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Alexander, Peter J. "New technology and market structure: Evidence from the music recording industry." Journal of Cultural Economics 18, no. 2 (1994): 113–23. http://dx.doi.org/10.1007/bf01078934.
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Khuntajan, Jiranuwat. "A Study of Isan Folk Music Creation Using a Sampler for Music Education." Journal of Education and Learning 13, no. 2 (February 20, 2024): 85. http://dx.doi.org/10.5539/jel.v13n2p85.
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This research represents a creative exploration in the field of music (Practice as Research: PaR) with the objectives of 1) studying the use of a sampler from Isan instruments and instruments from various cultures to create musical compositions using music software, and 2) examining the appropriate contexts for using a sampler in creative musical works. The research findings reveal that 1) Isan folk music possesses unique characteristics in terms of sound quality and performance techniques, while other musical elements can be combined with it in a technologically driven creative process. This involves connecting the concepts and methods of both traditional and diverse cultural music to create unified compositions using technology, such as recording musical notes in standard notation, exporting them as MIDI files, and then importing them into audio recording software to refine the sounds for complete songs. 2) Regarding the appropriate contexts for using a sampler in creative music, three main contexts were identified: an Isan folk music composition context, a music education context, and a commercial or music business context. In summary, the process of using a sampler for creative music works can bridge the concepts of various cultural music and integrate them with technology. Furthermore, this process can be extended to enhance interdisciplinary learning and teaching methods, making it applicable in diverse contexts.
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Su, Junwen. "Analysis of the Difference Between the Production of Computer Music and the Production of Traditional Music." Advances in Higher Education 3, no. 3 (August 30, 2019): 115. http://dx.doi.org/10.18686/ahe.v3i3.1480.
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<p>With the development of economy, all kinds of new technologies keep emerging, so does the field of music. The new computer music production technology has greatly improved the efficiency of music production and made up for the defects of traditional music production in which it is still difficult to guarantee the quality of music even if adequate preparation is made before recording. This paper discusses the advantages and disadvantages of computer music production compared with traditional music production.</p>
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Mróz, Bartłomiej, Piotr Odya, and Bożena Kostek. "Creating a Remote Choir Performance Recording Based on an Ambisonic Approach." Applied Sciences 12, no. 7 (March 24, 2022): 3316. http://dx.doi.org/10.3390/app12073316.
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The aim of this paper is three-fold. First, the basics of binaural and ambisonic techniques are briefly presented. Then, details related to audio-visual recordings of a remote performance of the Academic Choir of the Gdansk University of Technology are shown. Due to the COVID-19 pandemic, artists had a choice, namely, to stay at home and not perform or stay at home and perform. In fact, staying at home brought in the possibility of creating and developing art at home while working online. During the first months of lock-down, the audience was satisfied with music performances that were fairly far from the typical experience of a real concert hall. Then, more advanced technology was brought to facilitate joint rehearsal and performance of better quality, including multichannel sound and spatialization. At the same time, spatial music productions benefited from the disadvantage of remote rehearsal by creating immersive experiences for the audience based on ambisonic and binaural techniques. Finally, subjective tests were prepared and performed to observe performers’ attention behavior divided between the conductor and music notation in the network-like environment. To this end, eye-tracking technology was employed. This aspect is related to the quality of experience (QoE), which in the performance area–and especially in remote mode–is essential.
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Burston, Jonathan. "Theatre space as virtual place: audio technology, the reconfigured singing body, and the megamusical." Popular Music 17, no. 2 (May 1998): 205–18. http://dx.doi.org/10.1017/s026114300000060x.
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Early popular and theoretical work in popular music studies often bestowed implicit or explicit legitimacy on forms of music cultivating or preserving a ‘live’, ‘unplugged’, ‘acoustic’ and hence ‘authentic’ sound. Over the past fifteen years, much popular music scholarship (Frith 1986; Goodwin 1992; Cutler 1984) has rightly problematised this approach. It is important to note, however, that interpretations of popular music texts or scenes that depict the electrification or digitalisation of sound as uncomplicatedly pro-social or progressive remain problematic themselves. Within popular music production today, few areas exist where these aesthetics of recorded music have failed to penetrate. But there is one sub-field of popular music where the characteristic sounds of recording studio technology are still relatively new. It warrants the attention not only of those engaged in the study of popular music, but also of those involved in the exploration of virtual environments. This sub-field is the contemporary stage musical.
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Brezas, Spyros, Stella Paschalidou, Chrisoula Alexandraki, Makis Bakarezos, Christine Georgatou, Konstantinos Kaleris, Maximos Kaliakatsos-Papakostas, et al. "Research in the Department of Music Technology and Acoustics of the Hellenic Mediterranean University: An Overview and Prospects." WSEAS TRANSACTIONS ON ACOUSTICS AND MUSIC 11 (March 20, 2024): 1–19. http://dx.doi.org/10.37394/232019.2024.11.1.
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The Department of Music Technology and Acoustics of the Hellenic Mediterranean University offers a unique higher education program in Greece, addressing the growing demand for specialists in music technology, sound technology, and acoustics. It aims to educate specialized professionals in the rapidly advancing scientific fields of music technology and acoustics, mainly driven by the swift progress in electronic technology. The Department aims to address a gap in the professional market by producing highly skilled graduates, capable not only of keeping up with the latest scientific and technological developments but also of leading the way by introducing innovative approaches and methods. The Department combines art, science, and technology, focusing on sound recording, analysis, synthesis, and music production. Music technology encompasses various cutting-edge fields such as network music performance, artificial intelligence in music, and music embodiment. Acoustics refers to fundamental aspects of sound as well as its generation, transmission, and related phenomena. It includes research fields such as physical acoustics, optoacoustics, and vibroacoustics. This overview presents the research activities, methodologies, and results. A discussion of future research works and pointers to future technological evolution towards real-world music and acoustics applications is also provided.
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Gomes, Ricardo Milani. "Audio Quality X Accessibility How Digital Technology Changed the Way We Listen and Consume Popular Music." Revista Vórtex 4, no. 2 (October 31, 2016): 1–14. http://dx.doi.org/10.33871/23179937.2016.4.2.1320.
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Based on the studies of Milner (2009), Katz (2004) and Wikstrom (2009), the article explores in details how the experience of listening and consuming music has been changing through the years due to the appearance and evolution of digital audio technology; analyzing the consequences in the recording industry and specially in its main product: popular music. The work approaches two different steps of this evolution (Compact Disks and Mp3) in terms of formats, devices and delivery methods; and how each one of them had an influence in our relationship with music.
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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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Pierce, J. Mackenzie. "Writing at the Speed of Sound: Music Stenography and Recording beyond the Phonograph." 19th-Century Music 41, no. 2 (2017): 121–50. http://dx.doi.org/10.1525/ncm.2017.41.2.121.
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Music shorthand systems devised by Michel Woldemar, Hippolyte Prévost, and August Baumgartner adapted the quill strokes of speech stenography to the seemingly analogous domain of music. Eschewing conventional staff notation in favor of cursive lines that indicated pitch, register, interval, and duration, music stenographers endeavored to record in real time instrumental improvisations and fleeting inspirations that would otherwise have been lost forever due to a lack of recording technology. To advocates of such methods, more efficient technologies of musical writing were indispensable for capturing fugitive musical thoughts and acts: music stenography aided Hector Berlioz, for example, in the composition of his Requiem. For others, including Rossini, Fétis, and contributors to the Allgemeine musikalische Zeitung, the claims and merits of stenography were a source of controversy as well as fascination. Grounded in a corpus of seventy music stenographies that have been largely ignored by musicologists and historians of technology alike, this article asks how musical intuitions became musical texts, thereby entering print-based networks of circulation. Although the importance of “genius” and “work” as historical concepts regulating the production, ontology, and reception of nineteenth-century music has long been acknowledged, the material basis of these concepts has been overlooked until recently. The efforts of musical stenographers demonstrate that the inscription and circulation of material texts provided the means by which musical inspiration could be registered and stored, constituting a material substrate on which such idealist concepts depended. Whereas historians of sound recording have focused on seismic historical and cultural shifts wrought by the introduction of the phonograph in 1877, the preoccupation with capturing music in the decades preceding and following this date suggests an alternate conception of text-based sound recording.
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Salafiyah, Nafik, Wadiyo Wadiyo, Siti Aesijah, and Deu Aditama Nuswantara. "Audio Test for Musicality: Designing A Technology-Based Instrument for Measuring Music Learning Outcomes." Jurnal Seni Musik 12, no. 2 (December 31, 2023): 312–18. http://dx.doi.org/10.15294/jsm.v12i2.78140.
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The Musicality Assessment Test is a notation-based examination covering three concepts: ear training, listening, and reading. Due to the incorporation of these three conceptual domains, the musicality test can only be effectively conducted when the test questions are presented in audio format. The aim of this study was to innovate the testing process as a means of assessing music learning outcomes through an audio-based format. This study employed qualitative descriptive method, and utilized Sibelius and Cubase software as technological tools. The design phase began with the preparation of the structured test instrument, followed by the recording process using Sibelius software. This involved recording questions related to rhythmic, pitch, interval, melodic, scale, and harmonic notation, which were then transformed into MIDI format. Cubase software was employed for combining human voice with MIDI in the recording process. The testing instrument was meticulously crafted as an innovative product, ready for trial to measure the musicality abilities of test takers. The test tool was designed as an innovative product, poised for use in assessing the musicality skills of test takers.
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Kroher, Nadine, and José-Miguel Díaz-Báñez. "Audio-Based Melody Categorization: Exploring Signal Representations and Evaluation Strategies." Computer Music Journal 41, no. 4 (January 2018): 64–82. http://dx.doi.org/10.1162/comj_a_00440.
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Melody categorization refers to the task of grouping a set of melodies into categories of similar items that originate from the same melodic contour. From a computational perspective, automatic melody categorization is of crucial importance for the automatic organization of databases, as well as for large-scale musicological studies—in particular, in the context of folk music and non-Western music traditions. We investigate methods starting from the raw audio file. For each recording contained in a collection, we extract a pitch sequence representing the main melodic line. We then estimate pairwise similarities and evaluate the discriminative power of the resulting similarity matrix with respect to ground-truth annotations. We propose novel evaluation methodologies, compare melody representations, and explore the potential of our approach in the context of two applications: interstyle and intrastyle categorization of flamenco music and tune-family recognition of folk-song recordings.
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Wise, Stuart. "Secondary school teachers’ approaches to teaching composition using digital technology." British Journal of Music Education 33, no. 3 (November 2016): 283–95. http://dx.doi.org/10.1017/s0265051716000309.
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The music industry in the 21st century uses digital technology in a wide range of applications including in performance, in composition and in recording and publishing. In this article, I consider how the impact of digital technologies may be affecting pedagogical processes adopted by secondary music teachers, particularly in the area of composition. This paper examines qualitative data gathered from teachers in four schools participating in a larger research project. Data collected in this paper came from a number of semi-structured interviews. Findings indicate that although the majority of teachers involved in this research remain fundamentally conservative in their approaches to teaching composition, focusing on more procedural rather than creative activities, some music teachers do make radical changes to their pedagogy in contexts where this is important to their students’ engagement and supported by their school.
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Gillon, Les. "Varieties of Freedom in Music Improvisation." Open Cultural Studies 2, no. 1 (December 1, 2018): 781–89. http://dx.doi.org/10.1515/culture-2018-0070.
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Abstract This article considers the freedom for the musician that exists within different kinds of music improvisation. It examines the constraints, conventions and parameters within which music improvisations are created and identifies three broad strands of improvisatory practice, that have developed in response to the development of recording technology. It argues that non-hierarchical, pan-ideomatic and structurally indeterminate forms of music improvisation that began to emerge in the late 20th century represent a form of music that models and expresses the felt freedom of the improvising musician.
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Fargion, Janet Topp. "African Music in the World and Traditional Music Section at the British Library Sound Archive." History in Africa 31 (2004): 447–54. http://dx.doi.org/10.1017/s0361541300003600.
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It is widely accepted that the development of recording technology played an important role in the development of ethnomusicology as a discipline. For the first time, from the late nineteenh century, music could be recorded for use in scientific comparison and analysis. Jaap Kunst once wrote: “ethnomusicology could never have grown into an independent science if the gramophone had not been invented.” But the significance of recorded performance—the most objective way of capturing oral tradition—for the understanding of all aspects of culture must not be underestimated, particularly, but not exclusively, for nonliterate societies. “Oral tradition should be central to students of culture, of ideology, of society, of psychology, of art, and … of history.” And sound archives should be perceived as essential to research, “equivalent to libraries in other disciplines insofar as their importance in research is concerned.”Almost immediately after the advent of recording technology in the late 1870s, sound archives began to emerge: the first in Europe was the Phonogrammarchiv of the Austrian Academy of Science in 1899. Britain came late to the field: the British Institute of Recorded Sound was established with private funds only in 1947; it received its first grant-in-aid in the 1960s and in 1983 it became part of the British Library, known as the National Sound Archive.
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Mansell, Thomas. "DIFFERENT MUSIC: Beckett's Theatrical Conduct." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 225–39. http://dx.doi.org/10.1163/18757405-015001020.
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Beckett's references to music in his work as a director reveal complicated attitudes towards artistic autonomy and intermediality and towards music itself; indeed, they often betray a misunderstanding of the nature of music. The ideal music invoked by Beckett is supremely formal and beyond interpretation; it enjoys the benefit of precise notation, in turn ensuring accurate rendition; Beckett came to think of his performers as instruments. Along with the metaphor of Beckett as a conductor, and his surprising aversion to recording technology, these notions inform the larger debate within Beckett studies concerning directorial freedom and authorial control.
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HITCHNER, EARLE. "No Yankee Doodling: Notable Trends and Traditional Recordings from Irish America." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 509–20. http://dx.doi.org/10.1017/s1752196310000416.
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AbstractThe emergence of the compact disc in 1979 was regarded as the likely sales salvation of recorded music, and for many years the CD reigned supreme, generating steady, often substantial, company profits. More recently, however, the music industry has painfully slipped a disc. The CD has been in sharp decline, propelled mainly by young consumer ire over price and format inflexibility and by Internet technology available to skirt or subvert both. Irish American traditional music has not been impervious to this downward trend in sales and to other challenging trends and paradigm shifts in recording and performing. Amid the tumult, Irish American traditional music has nevertheless shown a new resilience and fresh vitality through a greater do-it-yourself, do-more-with-less spirit of recording, even for established small labels. The five recent albums of Irish American traditional music reviewed here—three of which were released by the artists themselves—exemplify a trend of their own, preserving the best of the past without slavishly replicating it. If the new mantra of music making is adapt or disappear, then Irish American traditional music, in adapting to change free of any impulse to dumb down, is assured of robustly enduring.
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Peng, Jing. "Multisensor Speech Enhancement Technology in Music Synthesizer Design." Mobile Information Systems 2022 (June 24, 2022): 1–12. http://dx.doi.org/10.1155/2022/9926708.
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Creating music through sound synthesis is the most representative electronic music creation method, and electronic music is actually the result of sound synthesis technology. Today, the field of electronic music encompasses multiple areas such as recording, mixing, composing, and producing. It also has some advantages over traditional music composition. Voice is the most effective and direct way of communication between people. And with the explosive development of speech recognition technology, the recognition rate of speech recognition systems in the near field environment has been greatly improved. However, in practical applications, there is often a large amount of ambient noise. If these environmental noises are strong, it will seriously affect the quality, accuracy, and speed of music synthesis. This greatly reduces not only the sound quality and clarity of speech but also the speed of speech recognition. To solve these problems, this paper proposes a multisensor speech enhancement technique and implements a multisensor speech enhancement system. It also proposes an enhancement method based on speaker speech and microphone speech. In this paper, the low-frequency harmonic components of the bone conduction signal are used to replace the frequency points disturbed by wind noise to reduce the influence of wind noise on speech quality and intelligibility. The experimental results show that the PESQ and MOS scores of the improved algorithm in this paper are 1.65 and 3.67, respectively. Compared with the existing methods, it has a great improvement. This can effectively improve the voice quality of the music synthesizer and reduce background noise.
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Backman, Judy, and John Borwick. "Sound Recording Practice." Computer Music Journal 12, no. 2 (1988): 55. http://dx.doi.org/10.2307/3679944.
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Blau, Susan, David Huber, and Robert Runstein. "Modern Recording Techniques." Computer Music Journal 14, no. 4 (1990): 72. http://dx.doi.org/10.2307/3680796.
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Dean, Roger. "Another Xenakis Recording." Computer Music Journal 22, no. 3 (1998): 4. http://dx.doi.org/10.2307/3681150.
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Dimitrov, Milen. "Sound Recording, Processing and Installation for Pedagogical Purposes." Педагогически форум 9, no. 3 (2021): 54–61. http://dx.doi.org/10.15547/pf.2021.019.
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One of the current problems facing modern academic training of students in pedagogical programs is the formation of digital competencies in the field of music. The skills for sound recording, processing and editing with the means of technology are extremely useful effects with various projections in pedagogical theory and practice. The article describes a study of students' attitudes towards the implementation of a team task related to the development of an audio product for pedagogical purposes
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SPICER, MARK. "(Ac)cumulative Form in Pop-Rock Music." Twentieth-Century Music 1, no. 1 (March 2004): 29–64. http://dx.doi.org/10.1017/s1478572204000052.
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This article examines a variety of compositional procedures that give rise to what the author defines as ‘accumulative’ and ‘cumulative’ forms in pop-rock music, formal processes which are directly linked to the rapid advances in recording technology that occurred mainly from the late 1960s to the 1980s. The article includes detailed transcriptions and analyses of pop-rock music across a wide range of styles and genres, from progressive rock to post-punk to techno.