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Relevant bibliographies by topics / Music technology / Dissertations / Theses

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Dissertations / Theses on the topic 'Music technology'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Barrett, James Edward. "Music technology in school education." Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.

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What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted con

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2

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

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 103-112).<br>Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturati

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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter

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4

Williams, Andrew. "The functions of Walkman music /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phw7211.pdf.

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5

Ebadi, Solmaz, and Mirja Johansson. "Music File Sharing : Genius Technology or Copyright Infringement?" Thesis, Jönköping University, JIBS, Commercial Law, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7598.

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<p>Today’s technology of music file sharing in peer-to-peer networks is genius. Peer-to-peer are networks composed of several computers enabling files to be shared among users. A substantial part of the files shared constitute unlawful copies; uploading and downloading of such files infringes copyright legislation. File sharing through peer-to-peer networks is therefore both a genius technology and a copyright infringement.</p><p>Peer-to-peer technology has been subject to heavy debate in media, both nationally and internationally. The issue of illegal downloads of music is an international di

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Ferrer, Damian Llopis. "Technology support for teaching music to kindergarten children." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509681.

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7

Kamara, II Kalilu. "Music Artists' Strategies to Generate Revenue Through Technology." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5358.

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Music streaming services are increasing, compact discs (CDs) and digital download sales are declining, and many music artists are becoming affected by this positive shift in music technology. Music streaming revenue does not compensate for the decrease in revenue from CDs and paid downloads. Based on organizational configuration theory (OCT), the purpose of this multiple case study was to explore the technology and marketing strategies that small business music artists used to generate sales revenue from the Internet. Six small business music artists who were 18 years or older with different m

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Oleksik, Gerard. "Music in the age of the Internet : an investigation into the relationship between music, music use and technology." Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/718/.

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Sideris, Nikolaos. "Music technology in contemporary concert hall music : Portfolio of musical compositions and accompanying commentary." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531328.

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10

Rege, Karen M. "An examination of music technology requirements for undergraduate performance majors." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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11

Pearson, Mark. "Synthesis of organic sounds for electroacoustic music : cellular models and the TAO computer music program." Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/10899/.

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McDonald, Iain. "Playing with technology an approach to composition /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/669/.

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Thesis (MMus) - University of Glasgow, 2007.<br>MMus. thesis submitted to the Faculty of Arts, Department of Music, University of Glasgow, 2007. Includes bibliographical references. Print version also available.

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Mogis, Jay D. "Transparency, technology and trust: Music metrics and cultural distortion." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/199497/1/Jay_Mogis_Thesis.pdf.

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Transparency issues influence many aspects of modern society and are critical in balancing the dichotomy between personalisation and privacy. Transparency behaviours have previously been refined into the disclosure, clarity and accuracy (DCA) model (Schnackenberg & Tomlinson, 2014). This thesis has two projects. Project 1 makes a significant contribution to the research literature on transparency and music industry practices by testing the DCA model. Project 2 presents an investigation into music licensing, missing revenue and technology transfer in Australia. The findings suggest an accredita

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Crow, William George. "Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006504/.

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This thesis interrogates the new music technology and its relationship to creativity, musicality and learning in the Key Stage 31 curriculum. In doing so it considers the effectiveness of the technology, what value pupils and teachers might place on technologically mediated musical interactions and how this relates to the principles enshrined in the National Curriculum. The research also explores the views of teachers in relation to the nature of creativity and learning in the music curriculum and their role in promoting it. The research was carried out across five sites: a PGCE music course,

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Lassauniere, Alexandre. "New music technology systems and methods to assist teachers." Thesis, University of Portsmouth, 2003. https://researchportal.port.ac.uk/portal/en/theses/new-music-technology-systems-and-methods-to-assist-teachers(33fbcff2-9cb0-40a9-a976-4812c890f2dd).html.

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This dissertation describes the creation of new music technology and information systems: electronic music interfaces, keyboard and audio networks, a novel information system called an electronic student assessment and data management system and new intelligent tutoring systems. Keyboard systems are used by music teachers. Existing systems offered a range of useful features using a number of technologies. However, they also had drawbacks, which prevented users from performing efficiently. Students had to use the new systems with portable keyboards for their lessons and were required to learn h

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Worth, Peter. "Technology and ontology in electronic music : Mego 1994-present." Thesis, University of York, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550249.

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The Vienna based record label Mego is known for establishing an uncompromising, radically experimental electronic music in the 1990s. This thesis considers the work of various different artists on the label, examining in particular their approaches to technology. The artists discussed appear to share an approach that I describe as pragmatic or experimental, which I contrast with idealist or rational approaches. In the latter, music appears to be understood within the framework of a simplistic model of communication, where technology is seen as a medium that should be transparent, allowing the

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Dixon, Kira Leigh. "Assessment through technology in the choral classroom." Kansas State University, 2013. http://hdl.handle.net/2097/15993.

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Master of Music<br>Department of Music<br>Julie Yu-Oppenheim<br>Teaching a large performing ensemble class, such as choir, can make it difficult to keep a record of each student’s individual progress. This report will discuss my philosophy of music education along with ways to incorporate technology into student assessment. Technology can most benefit the educational process when it is easy and efficient. Through personal experience, incorporating technology into student assessment can be done in the four different methods explored in this report. These four methods are: integrating practice f

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

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Music branding is not a new phenomenon in marketing, and it is not uncommon that companies brand themselves through means such as jingles, audio logotypes and the use of music in commercials. The digitalization of music has affected the way people listen to music, but it has also given brands the potential to brand themselves through music in other ways than those mentioned above. The aim of this study is to investigate and identify how music branding in alternative ways on digital platforms can build value for brands in the fashion industry. A literature study was conducted in the first part

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Marland, Thomas Joseph. "COMPOSING SPACE IN MIXED MUSIC." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18006.

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The composition of mixed music involves numerous aesthetic and formal challenges; the opposition of the rich, unrestrained sounds of live orchestral instruments amalgamated with electroacoustic sources - which differ in material source, compositional approach, performance practice, and meaning – expose musical difficulties innate to the musical anatomy of each medium. This thesis and portfolio examines how these difficulties can be reconciled through “source-bonding”; a term defined by Denis Smalley as the predisposition of a listener to relate sounds to their physical source or cause, paired

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20

Miller, Eric R. "The Influence of Recording Technology on Music Performance and Production." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367581047.

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Sztein, Baremberg Gabriella Ana. "Musical time and recording technology: A perspective from music theory." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.

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This thesis deals with two categories of musical time, concrete and subjective, and the effect of recording technology on musical time. Concrete musical time can be measured in an objective way, for example, through reference to standards of time external to the listener, such as clocks. Subjective musical time refers to the musical time that cannot be measured objectively: it depends entirely on the listener who experiences the musical work. It is my conclusion that recording technology affects the concrete aspect of musical time, but not the subjective one. Chapter one defines the relationsh

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Ahlberg, Jesper, and Andreas Andrén. "Usability Optimization and Testing Of Social Music Service." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-50063.

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Music playback in venues is very often controlled by the small group of people administrating the business or locale, and not by the audience of listeners themselves. The people listening rarely have any ability to affect the choice of music within the public place or business they are currently situated in. This master thesis is built around a developed social music service, that lets the listeners control the playback of music together. The project is called: Blicko, and it enables its users to collaboratively build up a playlist of music, and then vote on the order of the upcoming tracks to

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23

Thompson, Laura C. "How Arkansas Band Educators Use Technology for Music Education and Their Attitudes towards This Technology." Thesis, Arkansas State University, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13861515.

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<p> This study was conducted in order to understand the types of music technologies band educators in the state of Arkansas were using, their attitudes towards technology, and the implications training, during undergraduate and through professional development, had on the frequency of use. Arkansas Music Educators (n = 64) completed an online questionnaire containing demographic information, selection of music technologies, agreeability/disagreeability to statements about music technology, frequency of use, descriptions of technologies, and description of how they felt music technology should

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Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.

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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descrip

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Smith, Alison. "The impact of music technology on a bass guitarist's development." Thesis, University of Leeds, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436449.

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Wagenberg, Becky. "Computers, music, and math : using technology in a learning environment." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/42755.

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Roychowdhury, Amrita. "NON-USE OF STREAMING MUSIC TECHNOLOGIES." Thesis, Uppsala universitet, Informationssystem, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-341750.

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Technology non-use or active resistance towards technology is a pertinent issue in Human Computer Interaction, especially when we contemplate the ongoing changes regarding the concept of usability. By combining Theory of Practice and Theory of Materiality with Theory of Affect this thesis explores the resistance towards online streaming music technology among music enthusiasts devoted to vintage Vinyl music culture and also takes an effort to understand any possible effect of this voluntary non-use on the digital music industry. Qualitative research analysis is employed on ten in-depth semi st

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Gouws, Eugene. "Audio Signal Processing in Ironman A development of film music analysis from a perspective of music technology." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63617.

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The advances in music technology and cinematography in recent years has granted a higher level of importance to the film music. There exists a gap in the academic study of film music as it relates to music technology, as no appropriate methodology exists that can accurately measure the contribution that music technology makes towards the music as it exists in film. This study aims to contribute towards existing methodologies for analysing film music, but from the perspective of music technology, and more specifically how audio processing in the domains of dynamic, spectral, spatial and tempor

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Samuels, Koichi Richard. "Enabling creativity : a study of inclusive music technology and practices at The Drake Music Project Northern Ireland." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702492.

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The Drake Music Project Northern Ireland (DMNI) is a charity with the aim of enabling disabled people to compose and perform their own music independently through the use of music technology. Thus, DMNI is a charity that works at the intersection of music, disability and technology. This research contributes to raising further awareness on the issue of inclusion and disability, and at the same time presents an example of a charity working on practice-based and technical solutions to transcending both material and social disabling barriers to music making. Interviews, observations and professio

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Darlington, Bruce. "Music in the spaces of the 21st century." Thesis, University of Chester, 2016. http://hdl.handle.net/10034/620326.

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King, Andrew. "Contingent learning for creative music technologists." Thesis, Northumbria University, 2005. http://nrl.northumbria.ac.uk/9791/.

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The main aim of this thesis is to explore the use of learning technology within the music technology curriculum. First of all, it is recognised that there is a problem for music technology tutors in providing support for students who have 24-hour access to a music technology studio: typically, there is no support available outside of normal working hours. One solution is to implement the use of learning technology in the studio. However, there is no research to date in the field of music education that considers the pedagogical value of an interactive multimedia-based tool for music technologi

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Hector, Jason. "Harnessing open sound control for networked music in VST systems." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/11267.

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Includes abstract.<br>Includes bibliographical references (leaves 144-147).<br>Professional audio equipment is migrating towards general purpose computers running professional audio software systems such as Virtual Studio Technology [VST) and VST plugins that have been adopted as an informal standard for audio and MIDI plugins. The proliferation of computer networks has facilitated sharing and distributing musical content over networked technology and has benefits of allowing multiple, simultaneous, remote access to audio resources, it allows processing and computer hardware resources to be di

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McReynolds, Richard. "An exploration of the influence of technology upon the composer's process." Thesis, Cardiff University, 2019. http://orca.cf.ac.uk/119307/.

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This thesis focuses upon how the use of aleatoricism can be used in electro-acoustic music to increase the perceived connection between the electronic and acoustic forces in performance. It also considers how the tools that a composer uses to create their work can enforce an influence upon their own creative process. These issues stem from research conducted early in the project investigating mapping strategies applied to composition for physical gesture capture devices. The thesis progresses by exploring performer freedom for both electronic and acoustic performers which includes examination

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Chu, Xinlei. "Mongolian folklore expressed through music technology original multimedia soundtrack "On Horseback"." Thesis, Duquesne University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1554238.

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<p>I returned to my hometown and recorded Mongolian folk music—Mongolian Long Song and Mongolian Throat Singing. I wanted to combine technology and traditional folk music and write an electronic piece based on Mongolian vocal materials. I used what I’ve sampled, manipulated the sounds, composed the music, gathered the videos together and created this multimedia piece—On Horseback. The names of the four movements—Sand, Cloud, Water, and Fire—are four elements that I chose to represent the lifestyle in Inner Mongolia. </p><p> This thesis covers the journey of how

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Born, Georgina Emma Mary. "The ethnography of a computer music research institute : modernism, post modernism, and new technology in contemporary music culture." Thesis, University College London (University of London), 1989. http://discovery.ucl.ac.uk/1349616/.

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The thesis is a socio-cultural study of IRCAM, a large, state-funded computer music research institute in Paris directed by the avant garde composer Pierre Boulez. The approach is primarily ethnographic, supported by broader historical analysis. The aim is to provide a critical portrait of musical modernism and post modernism as expressed by IRCAM and its milieu; and to place this in historical perspective by combining anthropology with cultural history. Theoretically, the thesis examines the contradictory position of the contemporary musical avant garde: established in official cultural spher

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Freedman, Barbara Ann. "The Impact of Technology-Based Music Classes on Music Department Enrollment in Secondary Public High Schools in the Northeastern United States." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538794/.

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The purpose of this study was to examine if the implementation of a technology-based music class in public high schools in the northeastern United States had any significant impact on the overall music department enrollment and on enrollment in traditional performance ensemble courses, such as band and chorus, as they are the courses most offered in high schools in the United States. The two phases of the study included identifying eligible schools and collecting data from schools. A six-year history of music department and school enrollment data was collected from participating schools (n = 1

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Rooney, David, and n/a. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Griffith University. School of Arts, 1996. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050920.154417.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Au

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Rooney, David. "Playing Second Fiddle: A History of the Relationship Between Technology and Organisation in the Australian Music Economy (1901-1990)." Thesis, Griffith University, 1996. http://hdl.handle.net/10072/367206.

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This thesis is a socio-economic history of the relationship between music technology and organisational practices in twentieth-century Australia. It argues that the history of technology in the Australian music economy is dependent not only upon the changing technical characteristics of musical instruments and electronic consumer goods but also upon government policy-making, management practices in music technology manufacturing firms and patterns of music technology consumption. The thesis examines economic statistics regarding the import, export and local production of music technology in Au

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Hsu, Emile. "In Their Hands| Extra-curricular Use of Technology by High School Music Students." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10841427.

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<p> The purpose of this study is to explore the technology high school music students are using to improve musicianship. For this study, research was done to determine how students are using the available devices and the most popular applications, programs, and websites available and used by high school band students. A survey was issued to instrumental music students in two high schools asking questions pertaining to the topic. Then, data was compiled into lists consisting of the devices, uses, and applications that were the most favored. The results showed that a majority of students occasio

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Das, Mitali. "Motion within music : the analysis of multivariate MIDI data." Thesis, University of York, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367466.

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Powers, Ollie D. "Interactions between composers and technology in the first decades of electronic music, 1948-1968." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.

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New electronic technologies began to appear after 1948 that seemed to promise the infinite expansion of sonic possibilities in music. The ability to record and manipulate existing sounds (as in musique concrete), and to generate new, unknown timbres with electronic generators (as in elektronische musik), provided an extraordinary multiplication of musical resources.Much literature of the period extols the new possibilities offered by electronic music, but the limitations of the technology of the 1950s and 1960s and the interactions that occurred between composers and that technology have been

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Klontz, Mary-Hannah. "The Heart and Mind of Arnold Schoenberg?s ?De Profundis? Op. 50B." Thesis, George Mason University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3720713.

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<p> This research provides a guide to understanding, preparing, and performing Arnold Schoenberg’s last completed opus, “De Profundis” (Psalm 130) Op. 50B, within the context of the Hebrew chant that inspired it and Schoenberg’s other religious works, sketches, archival correspondence, and interviews with conductors. Theoretical and contextual analysis reveals significant discoveries relevant to an informed and accurate performance of the work. “De Profundis” embodies Schoenberg’s mature and most flexible twelve-tone writing at the peak of his spiritu

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I, Made Satrya Rudana. "Kinect-based Music Application for Children with Severe Physical Disabilities : Kinect-based Music Application for Children with Severe Physical Disabilities." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-322535.

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Based on initial interviews with music teachers at Årstra SpecialSchool, Uppsala, it was found that each child in a music playing session has different preferences of type and sound of a musical instrument. However, most of them have combined cognitive and physical impairments, preventing them from playing the instrument that theymight like.Starting from this idea, we developed a music application using virtual instruments, so that various types of instruments and sound can be used during a single music playing session. As an input device, we used aKinect sensor developed by Microsoft, i.e., a

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Odh, Anton. "Digitala verktyg och musikskapande." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-64207.

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I denna undersökning studeras hur digitala verktyg används på två högstadieskolor i årskurs 8 och hur dessa verktyg möjligtvis kan inverka på elevers musikskapande. Undersökningen är av kvalitativ art och grundar sig på deltagande observationer och semistrukturerade fokusgruppsintervjuer i projekt där elever på olika sätt skapar musik med digitala verktyg. Den genomsyras av ett medieekologiskt- och sociokulturellt perspektiv där empiri grundar sig på utsagor och erfarenheter från tio observationstillfällen och sex intervjuer. I undersökningen framkommer det att digitala verktyg används sällan

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Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Royer, Theo. "Pitch-shifting algorithm design and applications in music." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-266118.

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Pitch-shifting lowers or increases the pitch of an audio recording. This technique hasbeen used in recording studios since the 1960s, many Beatles tracks being producedusing analog pitch-shifting effects. With the advent of the first digital pitch-shiftinghardware in the 1970s, this technique became essential in music production. Nowadays,it is massively used in popular music for pitch correction or other creative purposes.With the improvement of mixing and mastering processes, the recent focusin the audio industry has been placed on the high quality of pitch-shifting tools. Asa consequence, c

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Armstrong, Victoria. "Hard bargaining on the hard drive : gender in the music technology classroom." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006670/.

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This thesis examines the construction of gender identity in cohorts of 15-18 year old boys and girls in relation to music composition and digital technology. The thesis is a response to what I perceive as a strong deterministic trend in the recent technology in music education literature that ignores the socially constructed nature of computers and computer use. By placing my discussion of music technology within the wider framework of gender and the sociology of technology studies, I critically explore the processes by which Information and Communication Technologies (lCTs) have become gender

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Koehly, Rodolphe. "Fabrication of sustainable resistive-based paper touch sensors: Application to music technology." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104691.

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Building novel Digital Music Instruments (DMIs) requires the use of a variety of sensors to transduce human actions to electronic signals that will control sound synthesis variables. Among them, contact (force/pressure) sensors such as the Force Sensing Resistors (FSR) are the most commonly used in the design of DMIs. Similar commercial sensor designs based on conductive materials also enable to detect position, displacement or flexion. Unfortunately, although commercial sensors can be easily found at electronic resellers, only a few standardised models with predefined sizes, shapes and electr

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Sciaky, Davide. "The digital transformation of the music industry through applications of blockchain technology." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-264916.

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Since its introduction in 2008, the blockchain technology has been hailed as the one that could revolutionise many different industries. The music industry underwent several changes in the last 20 years as a consequence of phenomena such as music piracy, digital music and music streaming. Many considered the blockchain technology the solution to the many issues the music industry is facing. However, while the technology has been around for more than 10 years, and despite the enthusiasm of scholars and experts, little has been done to actually implement blockchains in the industry, especially b

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50

Nieto, Oriol. "Discovering structure in music| Automatic approaches and perceptual evaluations." Thesis, New York University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3705329.

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<p> This dissertation addresses the problem of the automatic discovery of structure in music from audio signals by introducing novel approaches and proposing perceptually enhanced evaluations. First, the problem of music structure analysis is reviewed from the perspectives of music information retrieval (MIR) and music perception and cognition (MPC), including a discussion of the limitations and current challenges in both disciplines. When discussing the existing methods of evaluating the outputs of algorithms that discover musical structure, a transparent open source software called mir eval,

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