Academic literature on the topic 'Music videos – Production and direction'
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Journal articles on the topic "Music videos – Production and direction"
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Whalley, Ian. "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages." Organised Sound 17, no. 1 (February 14, 2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.
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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.
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Jautakytė, Žydrė. "The Situation of the National Music Curriculum Implementation: what do the Arts Maturity Examination Results Reveal." Pedagogika 117, no. 1 (March 5, 2015): 86–97. http://dx.doi.org/10.15823/p.2015.069.
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After the restoration of Lithuanian independence, since 1994 the preparation of the national curriculums for general education schools started. However, through this period the actual situation of the national music curriculum implementation has been explored to a limited extent. As the awareness of the importance of an evidences and data to the formation and creation of the education content is notably growing nowadays, it is important to collect various data about the actual situation of music education on purpose to improve it. In this article the results of the analysis of the arts maturity examination works in the music field are introduced and some generalized propositions are given about the actual situation of music education and the emerging fields of the music education practice, which are problemic or need to be improved. Research aim is to describe the situation of Lithuanian national music curriculum implementation on the ground of an analysis of student’s art maturity examination works in the music field. Research method is analysis of pedagogical literature, education documents and content of student’s art maturity examination works in musical field.
Research organization and results. Since 2013 a new arts maturity examination has been implemented, which has a music direction and is a long-term task, consisting of these examined parts: a creative process, an art work (an interpretation of music works or the musical production), description of creative work and its presentation. National examination center, which coordinates the implementation of examination, under its determinate order has selected and presented 43 works of music interpretation and 10 works of musical production for the analysis, while the total number of performed works is 241. The material for analysis consisted of the description of a creative work (scanned variant of an original text), audio and video recordings of presentations of creative works. Material was analyzed on the grounds of examination evaluation criteria. When analysis was done, the generalized propositions of fulfilment to criteria in student works were presented and they also were compared to the national music curriculum provisions and the parallels with its implementation situation were drawn.
Analysis of 30 video recordings of music interpretation examination, in which students performing their prepared program were recorded, has shown that 19 of them have chosen works that does not correspond to their abilities, i. e. are too difficult or too easy. Only 9 of these works show an original interpretation. It emerged that those students who have demonstrated the interpretation abilities while implementing an exam program, in the creative work description have also gone deep to the nuances of the style, genre and work’s impressiveness and have described their conception on the grounds of analysis of works’ texts and context. With reference to the analysis of 43 descriptions of creative works it is possible to state that only 5 of them fully correspond to criteria. Analyzed descriptions revealed that students’ capacities to analyze musical works, explore context and use concepts purposefully are not explicit. It was quite difficult for the students to formulate the idea and conception of a creative work and to use data of the context exploration to describe their project. Also the mistakes of general writing rules, grammar, style, selection and generalization of information and citation were noticed.
From 10 analyzed musical composition 5 students’ works can be evaluated as excellent, they fully corresponds to the examination evaluation criteria. 3 works are weak, they could not be characterized as authentic works. It was discovered that students, who have chosen an examination in musical creation field, were inspired by their own experience and that music lessons have had a little influence on their choice. Half of the students, who have chosen this direction, has demonstrated very good results of both creative work and description writing.
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Novak, Glenn D. "Music videos in the production lab." TechTrends 34, no. 2 (March 1989): 20–25. http://dx.doi.org/10.1007/bf02782078.
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Kruse, Adam J., and Stuart Chapman Hill. "Exploring hip hop music education through online instructional beat production videos." Journal of Music, Technology and Education 12, no. 3 (December 1, 2019): 247–60. http://dx.doi.org/10.1386/jmte_00009_1.
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This study explores online instructional beat production videos as a way to inform hip hop and popular music education and diversify scholarship in online music learning. The authors conducted a content analysis of YouTube videos, considering the instructional characteristics and content of these videos and the musical technologies employed within them. Findings highlight the importance of YouTube as a repository of hip hop beat production instructional material. Videos focused on composition of new beats, rather than re-creation of existing material, underlining an important distinction between hip hop musical practices and the ‘listen and copy’ approach identified in other vernacular music research ‐ and a distinction between these videos and others studied in extant music education scholarship that focuses on YouTube. The videos showcased varied technologies, some of which (e.g., FL Studio) seem especially well aligned with beat production practice. The article concludes with considerations for music educators and for future research.
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Rodriguez, Iliana Yamileth. "Listening to el Southside: Kap G’s Southern Mexicanidad." Labor 16, no. 3 (September 1, 2019): 95–101. http://dx.doi.org/10.1215/15476715-7569878.
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As part of the New Directions of the Latina/o South forum, this essay centers southern Latina/o cultural productions to examine practices of representation through Kap G’s rap texts. As the first popular Mexican American rapper from Atlanta, Georgia, Kap G lyrically and visually works to represent a southern Mexicanidad through his songs, music videos, and interviews. His work illustrates a second-generation identification with migrant struggles around issues of (im)migration, (il)legality, and labor.
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Taylor, Kris P. "Interview." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 195–202. http://dx.doi.org/10.33178/alpha.19.17.
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Kris P. (formerly Puszkiewicz) Taylor moved to New York from London in 1980. She was working at Island Records in the Publicity and Artist Development department when MTV was launched in 1981. The department quickly expanded to include Music Videos and she was soon promoted to Director of Music Video Promotion and Production. She left in 1985 to work as Executive Producer at Zbig Vision in New York after commissioning Zbigniew Rybczyński’s first music video, the MTV-award-winning Close to the Edit (1985) by Art of Noise. After successfully working together on fourteen videos over two years Kris moved briefly to work at MCA Records in Los Angeles and then in 1988 became Director of Music Video Production at Columbia Records (West Coast), working with artists such as Bob Dylan, The Rolling Stones, Michael Bolton, The Bangles, Alice In Chains, Billy Joel, Carlos Santana and Mariah Carey. In all she commissioned or was involved in the production of over three hundred music videos.
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Balaji, Murali, and Thomas Sigler. "Glocal riddim: cultural production and territorial identity in Caribbean music videos." Visual Communication 17, no. 1 (September 26, 2017): 91–111. http://dx.doi.org/10.1177/1470357217727675.
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Over the past two decades, several musical genres have transcended their Caribbean origins to achieve global recognition and success. Among these are soca, dancehall and reggaeton, all forms that had been inextricably tied to native cultural expressions, but have become increasingly popular as global commodities, particularly as web-based streaming platforms (e.g. YouTube) enhance their global audiovisual mobility. Numerous artists within these genres have become internationally recognized superstars, and many of the most recent tracks reflect an increasing co-mingling with American ‘pop’ music, as record companies seek to invigorate mainstream sounds with these ‘exotic’, yet widely popular artists. This article explores representations of scalar territorial identity as articulated in music videos from within these genres so as to evaluate how identity intersects with profit-driven models applicable to the contemporary music industry. By evaluating imagery from a regionally representative sample of music videos, they identify the intimate relationship between identity, scale and cultural production. Ultimately, we interrogate how place-based identity is commodified in these representations and whether certain images are constructed more for transnational consumption than an articulation of a coherent local national, or regional identity.
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Haddon, Mimi. "Warp's Music Videos: Affective Communities, Genre and Gender in Electronic/Dance Music's Visual Aesthetic." Journal of British Cinema and Television 16, no. 4 (October 2019): 571–90. http://dx.doi.org/10.3366/jbctv.2019.0499.
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This article examines Warp's music videos primarily from the ‘Warp Vision’ era of 1989–2004. I adopt a multidisciplinary approach and map three analytical perspectives. Firstly, I look at the videos' origins in Sheffield's electronic/dance music scene of the early 1990s. I then consider the way in which Warp's visual aesthetic refracts a gendered and raced identity through the lens of cult fandom and the ‘techno-geek’. Finally, I scrutinise the gendered division of labour involved in the making of Warp's music videos and consider how production studies might enhance current approaches to the study of music video.
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Ham, Minjeong, and Sang Woo Lee. "Factors Affecting the Popularity of Video Content on Live-Streaming Services: Focusing on V Live, the South Korean Live-Streaming Service." Sustainability 12, no. 5 (February 27, 2020): 1784. http://dx.doi.org/10.3390/su12051784.
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Naver V Live, a South Korean live-streaming service, showcases video contents specific to the entertainment industry, such as K-pop and music. On V Live, K-pop stars and their fans can interact directly in a natural way, and V Live provides high-quality video content with novel topics. This study has identified key characteristics of video content that affect its popularity. A total of 620 video contents of five leading Star channels were classified on the basis of production company, type of video content, and whether it was live-streamed or not. The popularity of video content was measured by the number of comments, hearts, and views. To control potential bias, additional variables were set as control variables—such as the number of channel subscribers, mini-album sales, if the video content was previewed, and cumulative number of days since the video content was uploaded. For analysis, a hierarchical linear regression was conducted. The findings suggest future directions in video content planning.
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Pope, Amara. "Musical Artists Capitalizing on Hybrid Identities." Stream: Interdisciplinary Journal of Communication 8, no. 2 (December 31, 2016): 3–22. http://dx.doi.org/10.21810/strm.v8i2.199.
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This study is an exploration of identity politics through an examination of the ways in which musical artists use the medium of music videos to create marketable, hybrid identities. With the rise of social media and the online consumption of information, music videos play a central role in global, cultural flows. I argue that hybrid identities are constructed by musical artists to gain popularity through the form of ethno-marketing. I include literature surrounding diaspora and hybridity to understand how hybrid identities become a production of heritage and human capital. By utilizing music videos specifically to construct their hybrid identities, musical artists are simultaneously enforcing and being subjected to economic, cultural, and political forms of exploitation. My methodology draws upon a multimodal discourse analysis (LeVine & Scollon, 2004) which assesses how meaning is made through the use of multiple modes of communication. I apply multimodality to the construction of music videos in which musical artists selectively chose particular sounds, images, and lyrics to claim specific identities. As articulated through the case study of Drake, I examine how the multimodal affordances of music videos allow artists to transcend borders within the digital age and reach a large audience. This study examines Drake’s bricolage of complex and intersectional identities and his unique privilege to choose to identify with different marginal communities. I assess how Drake capitalizes on shared experiences and struggles of different cultural, national, and class backgrounds though three of his music videos: “HYFR (Hell Yeah Fuckin’ Right)” (2011), “Started From The Bottom” (2011), and “Worst Behavior” (2013). Drake alludes to different cultures, locations, and social identities through these music videos to construct his place as a rapper in the music industry and articulates a hybrid identity as an “Authentic” Black/ Jewish, American/Canadian, working class member of society, and high-class rapper.
Dissertations / Theses on the topic "Music videos – Production and direction"
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Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
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Gumaste, Nitin S. "An experiment in portable escapism : storytelling and the iPod." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345339.
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This study examines the possibility of creating original video-based content for the video-enabled iPod that was released in October 2005. Current trends show that existing content created for conventional media like television, cinema and computers are simply being ported over to this new medium. However, when this project began, none of the production studios are concentrating on creating content specifically for this medium, which has its own unique properties like portability, screen size and the ability to easily start and pause content as required. The purpose of this project is to prove that such medium-specific content can be created and made financially viable for the creators. Further, this hypothesis is put to the test by presenting it to a group of Ball State University students and their responses are examined in detail.Department of Telecommunications
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Stewart, Richard Christopher. "Effective audio for music videos : the production of an instructional video outlining audio production techniques for amateur music videos." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.
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Vance, Sharie. "Miz Markley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.
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Lisa Markley, a.k.a. "Miz Markley", is a genuinely happy person even if she is not particularly financially successful as a musician. In an effort to validate my own choices as an artist, I chose to follow her. What was intended to be a portrait of a working musician, becomes instead a feminist musical essay film about the transformative power of art making.
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Mitra, Sukanya. "A study of the impact music videos have had on production techniques in relation to network television programs and commercials." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1986. http://www.kutztown.edu/library/services/remote_access.asp.
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Carlile, Solfa. "Characterisation in contemporary opera and music theatre." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:dd3468ba-dba6-49c2-88d4-82c2bb23af5c.
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This doctoral research comprises a practitioner-based reflective enquiry to bridge the gap between theory and practice and enhance my compositional output. In tandem with the composition of my chamber opera, The Exile, I have undertaken research into characterisation within the context of opera and musical theatre, with a focus on both the delineation of individual characters and the context in which they appear. Parameters of the work are discussed in comparison with canonic works of both opera and music theatre. Contemporary uses of leitmotif, representation of speech and folk music within operatic works are acknowledged and their influence on the composition is presented along with musical examples. The conventional composer-librettist partnership is discussed, along with suggestions for how respective roles for composer and librettist have evolved in recent times. An insight into the collaborative compositional process is presented in the final chapter, as my work with librettist Gillian Pencavel is discussed. The Exile is an original work informed by this research and is a contribution to the repertoire as well as an investigation into many compositional techniques presented in this thesis.
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Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.
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Vargas, Ariel 1981. "Desenvolvimento de um software educacional para auxilio a produção de videos." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/276227.
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Orientador: Heloisa Vieira da RochaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Computação
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Resumo: Nos dias de hoje, a produção de vídeos é uma atividade bastante comum, que desperta curiosidade, fascínio e identificação, principalmente entre as crianças e os jovens, como se pode observar pela crescente popularidade de sites onde se assiste e disponibiliza vídeos pela Internet. A produção de vídeos, além de uma atividade de lazer e entretenimento, pode ser utilizada como ferramenta de ensino e aprendizagem, com grande potencial educacional. Desse modo, esta dissertação apresenta um trabalho de pesquisa realizado com objetivo de desenvolver um software educacional voltado a dar suporte à produção de vídeos, por crianças e adolescentes. O protótipo do software desenvolvido, denominado Promídia, visa contemplar as principais etapas da produção de vídeo em um único ambiente, dando ao usuário uma visão geral de todo o processo. Dessa forma, pretende-se facilitar o desenvolvimento da atividade e contribuir para a compreensão do processo, por alunos. Com o protótipo implementado, realizou-se alguns experimentos com o objetivo verificar o potencial que a produção de vídeos tem como atividade educacional e testar a interação dos usuários com a interface desenvolvida para a ferramenta. Os resultados iniciais permitiram observar, na prática, os benefícios educacionais da atividade, descritos na literatura. Além disso, permitiram validar a interface da ferramenta que tem o propósito de auxiliar o desenvolvimento das etapas da produção de vídeos
Abstract: Nowadays, video production is a common activity, which arouses curiosity, fascination, and identification, mainly between children and young people. This can be noticed in the growing popularity of WEB sites, where is possible to watch and to share videos on the Internet. Video production, in addition to be an entertaining activity, can be used as teaching and learning tool, having great educational power. In this way, this work presents a research carried out whith goals towards the development of an educational software to assist video production by children and young people. The developed software prototype, called Promídia, intends to gather the main steps of video production activity in one computational tool, giving to the user the whole view of process. Therefore, it intends to ease the activity development and help the process realization by users. Also, we realized some experiments using the prototype aiming to validate our design decisions and to verify the acceptance of this kind of software in educational settings. Early results had enabled the observation of educational benefits of the activity, such as described in literature. Moreover, the experiments have validated the interface tool, as an assistant in the development of video production stages
Mestrado
Mestre em Ciência da Computação
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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
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Kazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.
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The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry.
Books on the topic "Music videos – Production and direction"
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Rowley, Kay. Videos. New York: Crestwood House, 1992.
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Gaskell, Ed. Make your own music video. San Francisco: CMP Books, 2004.
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Make your own music video. Lewes: Ilex, 2004.
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Kleiler, David. You stand there: Making music video. New York: Three Rivers Press, 1997.
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Meigs, James B. Make your own music video. New York: F. Watts, 1986.
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El videoclip en España (1980-1995): Gesto audiovisual, discurso y mercado. Madrid: Instituto Complutense de Ciencias Musicales, 2009.
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Behind the scenes at a music video. New York: Cavendish Square, 2015.
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Martin, Jerry. The Rolling Stones: The first rock music video. Whitestone, N.Y: Silver Rock Productions, 2002.
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Music in video production. White Plains, N.Y: Knowledge Industry Publications, 1991.
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Cefrey, Holly. Backstage at a music video. New York: Children's Press, 2003.
Find full textBook chapters on the topic "Music videos – Production and direction"
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Ramey, Mark. "Fight Club’s Production and Promotion." In Studying Fight Club, 25–44. Liverpool University Press, 2012. http://dx.doi.org/10.3828/liverpool/9781906733551.003.0003.
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This chapter identifies the key elements of Fight Club's transition from novel to film. Fight Club is in some ways a paradoxical film: both a product and a critique of big business. Fox and Regency, two big players in Hollywood film production, put 67 million dollars into Fight Club because the talent package was strong. They believed the film would do well — and despite a less-than-hoped-for initial box office run, they have been proved right. Emerging from the world of advertising and music videos, Fight Club's director David Fincher has now established himself as a modern-day auteur. The chapter then considers the performances of the film's cast, including Brad Pitt, Edward Norton, and Helena Bonham Carter. It also comments on the marketing of the film. Fox did not know how to sell Fight Club and so seriously misjudged its marketing and release. Fincher's original and seditious concepts for the marketing were rejected for more conventional action-orientated fare, aimed at a male youth market. This backfired in the post-Columbine climate and failed to connect with the broader youth market, which has now found significance in the film and elevated it to cult status.
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Moody, Dr James L., and Paul Dexter. "Music Videos, Film, DVDs, and Long-Form Production." In Concert Lighting, 303–9. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-80689-1.00026-x.
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Murray, Sterling E. "Love in a Village and a New Direction for Musical Theater in Eighteenth-Century America." In Rethinking American Music, edited by Tara Browner and Thomas L. Riis, 77–102. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0005.
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This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which borrowed songs are blended with original music--by Arne, Giardini, Geminiani, and Boyce, among others. In this case study, Murray examines the foundations of music theater in eighteenth-century America through the lens of David Douglass’s American Company, which first performed Love in a Village in the New World in Charleston in 1766. The author raises the question of how Douglass’s troupe succeeded financially and how in doing so it created a “new direction” for early American musical theater, an orientation and production concept that required trained voices and fuller orchestras, forces well in excess of those typically used for older ballad operas.
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Ittzés, Tamás. "There Is No Such Thing as Sound Production, or Sound=Release – The Importance of Natural Movement and Its Teaching in Violin Playing." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/16.
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This study details an approach which, in a certain respect, simplifies violin playing and teaching in the extreme. Creating a sound is based on a very simple rule: the sound = release. Release is preceded by tension, which is released with the sounding of the note. This is true on every level, in every direction. This general rule (or view) helps to make violin playing, the sounds created relaxed, natural and beautiful. The study shows step by step, how the necessary active tension comes into being and then how it is released, how and in what forms performers can use gravity. The main elements of this process are the posture of the body and the instrument, the movements of the arms and the joints (shoulder/armpit/upper arm. elbow/lower arm, wrist/back of the hand/palm and fingers) in their natural direction, the positions of the left hand, touch and vibrato, the relationship of the bow to the string, the use of bowing positions and right bow division, and strokes. Without the appropriate teaching of these no mechanism can be established and because of these deficiencies many a talent has been lost unable to even approach their own boundaries and unable to ever become a professional player. Keywords: sound production, release, natural mechanism, freedom, gravitation, violin
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Jenzen, Olu, Itir Erhart, Hande Eslen-Ziya, Derya Güçdemir, Umut Korkut, and Aidan McGarry. "Music Videos as Protest Communication: The Gezi Park Protest on YouTube." In The Aesthetics of Global Protest. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463724913_ch10.
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This chapter explores the relevance of the protest song as political communication in the Internet era. Focusing on the prolific and diverse YouTube music video output of the Gezi Park protest of 2013, we explore how digital technologies and social media offer new opportunities for protest music to be produced and reach new audiences. We argue that the affordances of digital media and Internet platforms such as YouTube play a crucial part in the production, distribution and consumption of protest music. In the music videos, collected from Twitter, activists use a range of aesthetic and rhetorical tools such as various mash-up techniques to challenge mainstream media reporting on the protest, communicate solidarity, and express resistance to dominant political discourse.
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Varış, Yakup Alper. "Reflections of Violence in Music." In Advances in Media, Entertainment, and the Arts, 98–118. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4655-0.ch006.
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One of the ways that the violence reaches every point in our lives and becomes an aesthetic thing is music, and this aestheticization of violence reaches its peak with music. Music, which has been one of the most powerful means of expression, reflection, and healing throughout history for mankind trapped in primitive self, confronts the reality of violence on individuals and society by revealing the factors feeding the violence, creates awareness by determining the direction of violence, is considered as a phenomenon that has positive or negative effects. This study is focused on these features of music and also the relationship between music and violence within the context of aesthetics. It is aimed to examine the reflections of violence on aesthetic creation via violent musical production materials and the musical reflections of violence and related items that have been handled through various examples.
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Ryzewski, Krysta. "Making Music in Detroit: Archaeology, Popular Music, and Post-industrial Heritage." In Contemporary Archaeology and the City. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803607.003.0011.
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Detroit’s popular music-making legacy has remained a foundation for the city’s symbolic identity throughout the twentieth century and into the present. For over a century music production in Detroit has been part of a thriving local industry and global enterprise, with different genres and styles of music measuring the city’s changing composition over the years (Holt and Wergin 2014). The sounds emerging from the city, coupled with its built environment and physical landscape, tell the stories of a creative, shapeshifting industrial and post-industrial centre defined by melodies, artists, and sounds that are distinctly Detroit—The Hucklebuck, Martha and the Vandellas, Cybortron. Attention to the assemblages of buildings, landscapes, people, and the soulful sounds associated with them reveal the underlying power of the city’s creative accomplishments to unite disparate communities, call attention to issues affecting urban well-being, and preserve memories of Detroit’s rich musical heritage. In its expansive repertoire of recording history and in its vast contemporary terrain of decay and ruination, Detroit’s musical heritage holds tremendous potential for archaeological research and cultural heritage initiatives. Through creative documentation platforms and dissemination practices contemporary archaeological approaches are particularly well suited for engaging place-based and thematic heritage discourses about Detroit and other post-industrial cities. This chapter presents the ‘Making Music in Detroit’ project, a contemporary archaeology and digital storytelling exercise focused on popular music assemblages and their placemaking power in Detroit, a city that is simultaneously defined and encumbered by the traumatic and festering post-industrial wounds of poverty, mismanagement, and ruination. In a series of twenty-four videos and web texts, ‘Making Music in Detroit’ illustrates how archaeologists might use digital storytelling to involve music-making places and their physical remains (some ruined, others intact) in communicating present-day senses of place as they relate to urban histories of creativity. These stories are part of a substantially broader and more formal multidisciplinary digital humanities effort to map Detroit’s transformations over the course of the past century, as it transitioned first from a thriving, wealthy, and innovative centre of manufacturing industries to an epicentre of post-industrial struggle, and more recently, from a bankrupt city into a stage for selective, privatized, and creative revitalization efforts (Ethnic Layers of Detroit project 2016; on creative cities, see White and Seidenberg, Chapter 1).
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Mills, Richard. "Anthems of Whose Generation?" In Fandom and The Beatles, 230–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190917852.003.0010.
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This chapter discusses millennial Beatles fan culture and Beatles tribute bands, slash fiction, YouTube, heritage culture, Beatles walks, LeakyCon, and Potterverse. These manifestations of Beatles fandom epitomize the desires of millennials who want to inhabit Beatles art and twist the music and lyrics into new cultural forms. Millennial fans want to be playful with canons and reimagine songs and films. Millennials’ digital “cultural construction” and remix bricolage texts represent a desire to reorganize anthems of the past to make them relevant to the present. Millennials are active fans who mash fan vids, set up Facebook groups, bring personalized signs to McCartney concerts, and collect ’60s memorabilia. Unlike boomer fans, they are not content to be passive: millennial tribute bands, slash fiction, YouTube videos, conventions, and heritage culture make Beatles culture fresh, new, and exciting. This chapter includes interviews with millennials and postmillennials for insight into these fans’ new direction.
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Ahmed, Omar. "Key Credits and Synopsis." In RoboCop, 7–8. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325253.003.0001.
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Director: Paul Verhoeven Writers: Edward Neumeier, Michael Miner Starring: Peter Weller, Nancy Allen, Ronny Cox, Kurtwood Smith, Miguel Ferrer Producer: Jon Davison Cinematography: Jost Vacano Editing: Frank J. Urioste Music: Basil Poledouris Casting: Sally Dennison, Julie Selzer Production Design: William Sandell Art Direction: John Marshall, Gayle Simon...
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Tarchynska, Yulia. "WAYS OF FORMING THE TECHNIQUE OF SOUND PRODUCTION IN THE INTERPRETATION OF MULTI-STYLE PIANO MUSIC." In Integration of traditional and innovative scientific researches: global trends and regional as. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-1-9.
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The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.
Conference papers on the topic "Music videos – Production and direction"
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Hedrick, R., R. J. Urbanic, and Ashley Novak. "A System Design for Computer-Aided Manufacturing Shared, Interactive Process Setup Sheets." In ASME 2016 11th International Manufacturing Science and Engineering Conference. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/msec2016-8723.
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Computer-aided manufacturing (CAM) software is used to develop a process plan, which consists of an operations list, tool paths, tooling, process parameters, and depending on the system, material handling operations. Upon completing the development of a process plan, setup sheets are generated for the personnel involved in the setup, production, testing, and product validation activities for a product. Typically, this documentation is in a hardcopy format, or is a static electronic document, and the direction of the communication is unidirectional — from the process planner to the support personnel. With the ubiquitous communications tools available to individuals today, a more sophisticated approach should be taken to transmit, store, and communicate changes to and from the shop floor. Presently, standard setup documentation consists of the project information utilized for the developed process plan. Pictures such as screen captures of the tool path, virtual verification images, and physical elements such as specialty tools may be included. However, modifications are made continuously to improve the cycle time, quality, or to adjust for other product or process changes. This research focuses on the development of interactive setup sheets that utilize existing desktop CAD/CAM software and mobile technologies, with the potential for leveraging the advantages of manufacturing cloud computing. Videos, links to additional documentation, and the ability to edit a subset of process parameters such as a tool diameter are incorporated. The operator is able to physically change tools or other key process setup information, and then send the information to the CAM system in order to regenerate the updated tool paths and documentation. Complementing the flexible, agile, and reconfigurable paradigms is the communication flexibility provided by fast wireless networks along with, cloud computing resources that can accessed with mobile devices, which are ubiquitous in today’s society. This technology that has not yet been heavily employed in the manufacturing environment, and research leveraging these new tools need to be explored.
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van Wijhe, Andries, Lennert Buijs, Leszek Stachyra, and Olivier Macchion. "Measurements of Low Frequency Vibration in Subsea Piping Using ROV Video Analysis." In ASME 2020 39th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/omae2020-18579.
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Abstract Vibrations in Subsea Production Systems are well recognized as a concern in the subsea industry. To identify the severity of the vibrations and potential accumulated fatigue damage, subsea vibrations need to be measured with great accuracy. Currently, accurate detection and subsea measurements are often performed by utilizing accelerometers, which have to be connected to the structure by ROV or a diver. ROV video analysis provides an alternative solution. Video analyses are widely utilized across different applications. With the increased quality of a HD camera on ROV, the accessibility of such measurements is an attractive substitute to other techniques. As a part of on-shore mechanical testing on a full assembled XT in St John’s Canada, a flowloop on a water injection XT was subjected to free vibrations. The vibrations were filmed using a commercial HD camera placed on a tripod. This test was done to validate data generated using video processing in which pipe vibration of an operating subsea XT was filmed using an ROV camera. A study that aimed to quantify the video processing accuracy, limitations and provide general guidance was conducted. For the onshore test filmed with a tripod the results of video analyses were compared with the measurements obtained by means of accelerometers. For the video of an operating subsea XT filmed by an ROV, the obtained vibration frequency and direction was compared with the free mechanical vibration obtained by a FEM model. The results obtained by means of the video analysis matched well with the accelerometer data. A high accuracy was reached, as vibration displacements as low as 20% of the pixel were accurately determined in the video analysis. With respect to detection frequencies, the upper cut-off frequency was around 15 Hz determined by the video framerate. The video analysis utilizing ROV videos was found to be applicable for low frequency vibration measurements, opening the opportunity for easier and more cost effective vibration detection and monitoring. The method is also reliable for subsea application in which the camera is placed on an ROV and is thus not affected by ROV movements, subsea lighting condition and moving ocean debris.