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Journal articles on the topic 'Parameters of a musical recording'
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1
Janata, Petr, and Hellmuth Petsche. "Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts." Music Perception 10, no. 3 (1993): 281–304. http://dx.doi.org/10.2307/40285571.
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The generation and updating of expectancies is a crucial process for our understanding and appreciation of music. We present evidence that the dynamic process of musical expectancy can be studied by using several electroencephalographic (EEG) parameters such as amplitude or coherence in various frequency bands between 1.5 and 31.5 Hz. At specific electrodes (amplitude parameter) or electrode pairs (coherence parameter), values of these parameters depend on how an established musical context is completed, that is, if the expectancy generated by the context is violated, the pattern of the brain's electrical activity differs significantly from when the expectancy is fulfilled. The various parameters are also sensitive to the ease with which subjects classify a musical resolution. In our study, musically trained subjects heard repeated trials consisting of cadence primes in various major keys and inversions. Each cadence resolved either to the tonic, the relative minor, or a chord based on the tonic of the most distantly related major key. The three resolutions represented the "best," an "ambiguous," and "worst" possible fulfillments of the expectancy (resolution to the tonic) generated by the priming cadence. In a "response" condition, subjects expressed a yes/no judgment of how well the resolution matched their expectancy of the best possible resolution; in a "no response" condition, subjects were asked to make the same judgment but no overt response was required. Analyses of variance snowed that reaction times, response accuracies, and some EEG parameters differed between the various resolutions. In addition to confirming that a form of expectancy operates in musical contexts, the results point towards the brain structures responsible for the processing of complex musical stimuli. In particular, EEG parameters changed not only at recording sites located above the auditory cortices, but also at sites above right frontal and parietal regions.
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Julien, Olivier. "Introducing students to musical technology: the case for reel-to-reel analog tape machines." British Journal of Music Education 17, no. 2 (July 2000): 197–208. http://dx.doi.org/10.1017/s0265051700000255.
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Since their beginnings, popular music studies have relied primarily on disciplines such as sociology, anthropology and semiotics. However, the nineties saw the emergence of a generation of scholars whose knowledge of the recording studio led them to show a common interest in technological parameters, and to develop new tools for musicological analysis. This article describes the perspectives that their work offers within the realm of education.
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Gjerdingen, Robert O. "Shape and Motion in the Microstructure of Song." Music Perception 6, no. 1 (1988): 35–64. http://dx.doi.org/10.2307/40285415.
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The early hopes for the Seeger melograph, a device for recording the pitch and intensity of vocal performances, have not been realized because musicologists found the graphic traces of pitch and intensity too difficult to interpret. In this article, proposals are advanced for redesigning the melograph to provide researchers with more symbolically meaningful information. This involves abandoning the notion of fully separable parameters, relaxing the constraint that representations be culturally neutral, and developing ways to represent musical motion qua motion. The discussion is illustrated with redesigned melograms drawn from analyses of a particularly florid excerpt of South- Indian singing. Comparisons between the performances of a South-Indian singer and the performances of two of her students suggest ways in which cultural conditioning can affect vocal performance.
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Grujić, Gordana, and Mladen Janković. "Tension and relaxation (do not) exist in dodecaphonic music of Webern." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 423–36. http://dx.doi.org/10.31724/rihjj.44.2.6.
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Observing tension in music is generally a very sensitive research field. Authors like Wallace Berry and Joseph Swain believe that this is a principle which is the most fundamental aspect of music experience through its history, no matter which music language or compositional system it is. Starting from such general assumptions that it is possible to determine the parameters which affect the feeling of tension and relaxation in dodecaphonic music as well, the possibility of recording the closures that are the basis for the structural delineation of the sections and the determination of phrases and sentences in the musical flow is imposed. The system surely exists, the only question is whether we are able to perceive it in a new, dodecaphonic music flow? Is it possible in a dodecaphonically organized work to find dissonant and consonant harmonies, and thus demonstrate the elements of tension and resolution, or do some other musical components have the primacy in organizing and establishing hierarchical levels in the definition of closures in dodecaphonic music? Relying on the writings of authors who have dealt with this or similar theme (Babbitt 1949, Forte 1973, Lerdahl 1989, Boss 1994, Rothgeb 1997, Farbood 2006, Granot and Eithan 2011, Zatkalik 2016), this work will illustrate the systematization and ranking of closures at the hierarchical level at which they operate in the examples of Webern’s dodecaphonic music (op. 20, op. 21, op. 22, op. 24, op. 27, op. 28 i op. 30). Also, this work deals at a certain extent with the terminology of the cadence-closure. The parameters that are most important for the construction of the closures in Webern’s dodecaphony works are determined, and terminology is proposed: perfect closure – closure – semiclosure. The application of these ideas was demonstrated in the third movement of Webern’s String Quartet op. 28.
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Katz, Jonah. "Style and Flow: A Commentary on Duinker & Martin." Empirical Musicology Review 12, no. 1-2 (September 26, 2017): 101. http://dx.doi.org/10.18061/emr.v12i1-2.5926.
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Duinker and Martin's excellent study presents a wealth of new data, findings, and analyses. It represents a welcome focus on the details of musical aspects of hip-hop, as well as an effort to combine those details with more global aspects of recordings in order to clarify what our notions of hip-hop 'style' or 'sound' are based on. The examination of instrumental backgrounds and production parameters is particularly novel. I would suggest, however, that the study could have benefitted from the use of details pertaining to flow, particularly in the examination of trends over time and stylistic sub-groupings. I show that several parameters pertaining to the complexity, rhythmic placement, and repetitiveness of rhymes help track changes in hip-hop style over time, distinguish between more and less similar songs, and capture effects of apparent time within the same actual time period.
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London, Justin. "Building a Representative Corpus of Classical Music." Music Perception 31, no. 1 (September 1, 2013): 68–90. http://dx.doi.org/10.1525/mp.2013.31.1.68.
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This paper presents an object lesson in the challenges and considerations involved in assembling a musical corpus for empirical research. It develops a model for the construction of a representative corpus of classical music of the “common practice period” (1700-1900), using both specific composers as well as broader historical styles and musical genres (e.g., symphony, chamber music, songs, operas) as its sampling parameters. Five sources were used in the construction of the model: (a) The Oxford History of Western Music by Richard Taruskin (2005), (b) amalgamated Orchestral Repertoire Reports for the years 2000-2007, from the League of American Orchestras, (c) a list of titles from the Naxos.com “Music in the Movies” web-based library, (d) Barlow and Morgenstern’s Dictionary of Musical Themes (1948), and (e) for the composers listed in sources (a)-(d), counts of the number of recordings each has available from Amazon.com. General considerations for these sources are discussed, and specific aspects of each source are then detailed. Intersource agreement is assessed, showing strong consensus among all sources, save for the Taruskin History. Using the Amazon.com data to determine weighting factors for each parameter, a preliminary sampling model is proposed. Including adequate genre representation leads to a corpus of ≈300 pieces, suggestive of the minimum size for an adequately representative corpus of classical music. The approaches detailed here may be applied to more specialized contexts, such as the music of a particular geographic region, historical era, or genre.
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Rychlicki-Kicior, K., and B. Stasiak. "Multipitch estimation using judge-based model." Bulletin of the Polish Academy of Sciences Technical Sciences 62, no. 4 (December 1, 2014): 751–57. http://dx.doi.org/10.2478/bpasts-2014-0081.
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Abstract Multipitch estimation, also known as multiple fundamental frequency (F0) estimation, is an important part of the Music Information Retrieval (MIR) field. Although there have been many different approaches proposed, none of them has ever exceeded the abilities of a trained musician. In this work, an iterative cancellation method is analysed, being applied to three different sound representations - salience spectrum obtained using Constant-Q Transform, cepstrum and enhanced autocorrelation result. Real-life recordings of different musical instruments are used as a database and the parameters of the solution are optimized using a simple yet effective metaheuristic approach - the Luus-Jaakola algorithm. The presented approach results in 85% efficiency on the test database.
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Weich-Shahak, Susana. "Musico-Poetic Genres in the Sephardic Oral Tradition. An Interdisciplinary Approach to the Romancero, Coplas and Cancionero." European Journal of Jewish Studies 9, no. 1 (April 21, 2015): 13–37. http://dx.doi.org/10.1163/1872471x-12341270.
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This article, based exclusively on examples that the author has recorded from the oral tradition of the Sephardic Jews, presents the three main genres of the Sephardic traditional repertoire, romancero, coplas and cancionero. These three poetic and musical genres show the vitality, the richness and the variety of the Judeo-Spanish repertoire and have received focused attention by literary scholars and musicologists, through intensive fieldwork, recordings, analysis and interviews. This article presents a system of classification of the repertoire according to interdisciplinary parameters. All the examples belong to those the author has collected in work at the Jewish Music Research Center of the Hebrew University of Jerusalem. The recordings from her own fieldwork (1974–2014), together with those of other scholars, resulted in the world’s richest collection of the Judeo-Spanish repertoire, and is stored and catalogued at the National Sound Archives of the Israel National Library, open to scholars, singers and lovers of the Judeo-Spanish tradition.
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Bakogiannis, Konstantinos, Spyros Polychronopoulos, Dimitra Marini, and Georgios Kouroupetroglou. "Audio Enhancement of Physical Models of Musical Instruments Using Optimal Correction Factors: The Recorder Case." Applied Sciences 11, no. 14 (July 12, 2021): 6426. http://dx.doi.org/10.3390/app11146426.
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A simulation of a musical instrument is considered to be a successful one when there is a good resemblance between the model’s synthesized sound and the real instrument’s sound. In this work, we propose the integration of physical modeling (PM) methods with an optimization process to regulate a generated digital signal. Its goal is to find a new set of values of the PM’s parameters’ that would lead to a synthesized signal matching as much as possible to reference signals corresponding to the physical musical instrument. The reference signals can be: (a) described by their acoustic characteristics (e.g., fundamental frequencies, inharmonicity, etc.) and/or (b) the signals themselves (e.g., impedances, recordings, etc.). We put this method into practice for a commercial recorder, simulated using the digital waveguides’ PM technique. The reference signals, in our case, are the recorded signals of the physical instrument. The degree of similarity between the synthesized (PM) and the recorded signal (musical instrument) is calculated by the signals’ linear cross-correlation. Our results show that the adoption of the optimization process resulted in more realistic synthesized signals by (a) enhancing the degree of similarity between the synthesized and the recorded signal (the average absolute Pearson Correlation Coefficient increased from 0.13 to 0.67), (b) resolving mistuning issues (the average absolute deviation of the synthesized from the recorded signals’ pitches reduced from 40 cents to the non-noticeable level of 2 cents) and (c) similar sound color characteristics and matched overtones (the average absolute deviation of the synthesized from the recorded signals’ first five partials reduced from 41 cents to 2 cents).
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Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.
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Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.
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Fejfar, Jiří, and Jiří Šťastný. "Time series clustering in large data sets." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 59, no. 2 (2011): 75–80. http://dx.doi.org/10.11118/actaun201159020075.
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The clustering of time series is a widely researched area. There are many methods for dealing with this task. We are actually using the Self-organizing map (SOM) with the unsupervised learning algorithm for clustering of time series. After the first experiment (Fejfar, Weinlichová, Šťastný, 2009) it seems that the whole concept of the clustering algorithm is correct but that we have to perform time series clustering on much larger dataset to obtain more accurate results and to find the correlation between configured parameters and results more precisely. The second requirement arose in a need for a well-defined evaluation of results. It seems useful to use sound recordings as instances of time series again. There are many recordings to use in digital libraries, many interesting features and patterns can be found in this area. We are searching for recordings with the similar development of information density in this experiment. It can be used for musical form investigation, cover songs detection and many others applications.The objective of the presented paper is to compare clustering results made with different parameters of feature vectors and the SOM itself. We are describing time series in a simplistic way evaluating standard deviations for separated parts of recordings. The resulting feature vectors are clustered with the SOM in batch training mode with different topologies varying from few neurons to large maps.There are other algorithms discussed, usable for finding similarities between time series and finally conclusions for further research are presented. We also present an overview of the related actual literature and projects.
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Kibitkina, Elina Vadimovna, and Elena Alekseevna Fatianova. "Academic music transcript modeling using electronic sound synthesis." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 87–97. http://dx.doi.org/10.7256/2453-613x.2020.6.33591.
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Nowadays, computer technologies are integrated into all art forms. New artistic directions emerge which are totally based on multimedia (primarily audio-visual) instruments. The question about the role of music art in the new cultural paradigm becomes topical. Based on the example of academic music, the article considers the possibilities of using programming tools for music scores processing into a transcript. The authors consider the possible mathematical model of a piece of music which allows processing the piece of music and getting both an authentic and an experimental version. The authors analyze the set of parameters helping to form a virtual acoustic space corresponding with an artistic concept. The authors demonstrate that academic music transcript modeling using electronic sound synthesis can promote the artistic reinterpretation of the score of the piece of music. The selection of particular timber, performance and spatial parameters during transcribing helps to interpret a composition according to the artistic tasks. The use of virtual instruments also allows creating digital recordings without performing musicians. The article contains the variants of forming a virtual acoustic environment based on the example of a classical piece of music for string quartet: from a “traditional” to an “experimental, differing in musical sources positioning, a set of spatial effects and the parameters of their adjustment.
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Zhang, Weiwei, Qiaoling Zhang, Sheng Bi, Shaojun Fang, and Jinliang Dai. "Efficient Melody Extraction Based on Extreme Learning Machine." Applied Sciences 10, no. 7 (March 25, 2020): 2213. http://dx.doi.org/10.3390/app10072213.
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Melody extraction is an important task in music information retrieval community and it is unresolved due to the complex nature of real-world recordings. In this paper, the melody extraction problem is addressed in the extreme learning machine (ELM) framework. More specifically, the input musical signal is first pre-processed to mimic the human auditory system. The music features are then constructed by constant-Q transform (CQT), and the concentration strategy is introduced to make use of contextual information. Afterwards, the rough melody pitches are determined by ELM network, according to its pre-trained parameters. Finally, the rough melody pitches are fine-tuned by the spectral peaks around the frame-wise rough pitches. The proposed method can extract melody from polyphonic music efficiently and effectively, where pitch estimation and voicing detection are conducted jointly. Some experiments have been conducted based on three publicly available datasets. The experimental results reveal that the proposed method achieves higher overall accuracies with very fast speed.
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Ferrales Nápoles, Marybel. "Algunas manifestaciones actuales de la música indígena en Sonora, México." Arte, entre paréntesis 1, no. 12 (July 1, 2021): 20–28. http://dx.doi.org/10.36797/aep.v1i12.86.
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La riqueza de la tradición musical indígena de Sonora estriba en su variedad y significados constituyendo un factor importante en la identidad de sus pueblos. Sin embargo, las investigaciones sobre la música de las culturas autóctonas de la región son escasas; por ello, se hace necesario un estudio enfocado a su significación como fenómeno cultural colectivo y a su análisis musical. El objetivo de este trabajo es dar a conocer como se manifiesta actualmente la música de algunas etnias del estado de Sonora mediante la trascripción y análisis de obras representativas. Se inició recogiendo las evidencias auditivas y visuales de la música indígena que ha llegado a nuestros días como producto de un largo proceso histórico en diferentes etnias del Estado de Sonora. Se seleccionaron cinco obras extraídas de grabaciones propias o facilitadas por Lutisuc (2007), las cuales fueron transcritas y acompañadas con una breve descripción del contexto donde se interpretan y su análisis melódico, armónico, formal y métrico, así como los procesos de acompañamiento, entonación y timbre de voces. Se concluye que la música indígena contemporánea interpretada en el territorio sonorense es trasmisora de los pensamientos actuales de las etnias; en muchos casos, reconstruyendo parámetros antiguos para moldear las generaciones actuales y no interpretándose fuera del contexto local. Abstract The richness of the indigenous musical tradition in Sonora lies in the variety and meanings constituting an important factor in the identity of their towns. However, the research about the music of the native cultures on the region are only a few; therefore, it is necessary a study focusing the meaning as a collective cultural phenomenon and his musical analysis. The objective of this work is releasing information of how music is currently manifested today in some ethnic groups of Sonora through transcriptions and analysis of representatives works. It began by collecting auditory and visual evidence of indigenous music that has reached our days as a product of a historical process in different ethnic groups in the State of Sonora. Five works were selected from own recordings or provided by Lutiscu (2007), which were transcribed and accompanied with a short description of the context where they are interpreted and its melodic, harmonic, formal and metric analysis; as well as the accompaniment, intonation and timbre of voices. It concludes that contemporary indigenous music performed in the Sonoran territory it is a transmitter of the actual thoughts of the ethnic groups; in many cases, rebuilding old parameters to shape current generations and not interpreting itself outside the local context.
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Horetska, Nataliia. "Stylistic features of the performing ancient instrumental music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 110–32. http://dx.doi.org/10.34064/khnum1-57.07.
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Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of musicians. One of the brightest manifestations of the musical style of the seventeenth and eighteenth centuries is a close connection between music and the art of rhetoric. When referring to ancient music, performers must take into account the enormous influence that rhetoric had on the formation of musical thinking at that time. The close relationship of the latter with the oratory, which is based on a set of laws and rules, led to the influence of musical-rhetorical figures on the semantics of musical language, and, consequently – on the intonation-declamation sphere of musical text, ways of articulation. The latter were largely determined by the design features of ancient tools. The variety of characteristic techniques of instrumental sound production – expressive touches, among which a special place was occupied by the string strokes (legato, detache, martele, etc.) – has become an integral part of the style of European music of the XVII–XVIII centuries. Transferring them to the field of piano technique is necessary for adequate interpretation of works of this period, requiring the pianist to find appropriate analogues that allow to some extent to reproduce the figurative, articulatory, timbre-color, texture characteristics of the performed work. Modern piano, which due to a fundamentally different method of sound production does not claim to be an authentic reproduction of baroque music, has its own rich arsenal of expressiveness, which allows you to offer the listener no less interesting interpretive content of music of past eras. The art of outstanding pianists of the XX–XXI centuries, to whose audio and video recordings modern performers turn in search of a reference sound (G. Gould, S. Richter, S. Feinberg, T. Nikolaeva, M.Argerich, F. Gulda, G. Sokolov, A. Schiff and others) demonstrates this fact clearly. Conclusions. Not reconstruction, but reproduction of the style, image and spirit of early music becomes the leading principle of working on it in the piano class. And here the pianist should come to the aid of a conscious intonation, based on knowledge of both the general laws of the reproduced style and its characteristic details. The outstanding interpreter of early music V. Landowska (1991: 350) wrote: “One cannot ignore the reading of Quantz’s treatises on playing the flute, Leopold Mozart on the violin, Tosi-Agricola on singing, François Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach and many others – about playing keyboard instruments”. Finding “unexpected treasures” in them, “the disciples are delighted, because they begin to realize what they simply did not pay attention to before. In such cases, you find yourself witnessing an explosion of joy, somewhat reminiscent of the discovery of love”.
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Botstein, L. "Recording and Reality: The Musical Subject." Musical Quarterly 95, no. 1 (March 1, 2012): 1–14. http://dx.doi.org/10.1093/musqtl/gds020.
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Ohe, Ichiro. "Apparatus for recording and reproducing musical performance." Journal of the Acoustical Society of America 77, no. 5 (May 1985): 1981. http://dx.doi.org/10.1121/1.391801.
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Nakamura, Shunsuke. "Musical Sounding Producing Apparatus, Musical Sound Producing Method, Musical Sound Producing Program, And Recording Medium." Journal of the Acoustical Society of America 129, no. 3 (2011): 1673. http://dx.doi.org/10.1121/1.3573355.
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Anglada-Tort, Manuel, and Daniel Müllensiefen. "The Repeated Recording Illusion." Music Perception 35, no. 1 (September 1, 2017): 94–117. http://dx.doi.org/10.1525/mp.2017.35.1.94.
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The repeated recording illusion refers to the phenomenon in which listeners believe to hear different musical stimuli while they are in fact identical. The present paper aims to construct an experimental paradigm to enable the systematic measurement of this phenomenon, investigating potentially related extrinsic and individual difference factors. Participants were told to listen to “different” musical performances of an original piece when in fact they were exposed to the same repeated recording. Each time, the recording was accompanied by a text suggesting a low, medium, or high prestige of the performer. Most participants (75%) believed that they had heard different musical performances. Participants with high levels of neuroticism and openness were significantly more likely to fall for the illusion. While the explicit information presented with the music influenced participants’ ratings significantly, the effect of repeated exposure was only significant in the more familiar music condition. These results suggest that like many other human judgments, evaluations of music also rely on cognitive biases and heuristics that do not depend on the stimuli themselves. The repeated recording illusion can constitute a useful paradigm for investigating nonmusical factors because it allows for the study of their effects while the music remains the same.
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Irizarry, Rafael A. "Parameters with Musical Interpretations." CHANCE 17, no. 4 (September 2004): 30–38. http://dx.doi.org/10.1080/09332480.2004.10554923.
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Suzuki, Hideo. "Electronic musical instrument using large‐capacity recording medium." Journal of the Acoustical Society of America 78, no. 3 (September 1985): 1156. http://dx.doi.org/10.1121/1.392940.
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Juszkiewicz, Henry E. "Musical instrument digital recording device with communications interface." Journal of the Acoustical Society of America 115, no. 2 (2004): 462. http://dx.doi.org/10.1121/1.1669331.
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Zotter, Franz. "Directional Recording and Analysis of Sounds from Musical Instruments." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3386. http://dx.doi.org/10.1121/1.2934041.
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Kleeman, Janice E. "The Parameters of Musical Transmission." Journal of Musicology 4, no. 1 (December 1985): 1–22. http://dx.doi.org/10.2307/763720.
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Kleeman, Janice E. "The Parameters of Musical Transmission." Journal of Musicology 4, no. 1 (December 1985): 1–22. http://dx.doi.org/10.1525/jm.1985.4.1.03a00010.
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Sittiprapa, Wichian. "Computerized Electroencephalogram Parameters Recording Protocol." Asian Journal of Biological Sciences 5, no. 8 (November 1, 2012): 438–48. http://dx.doi.org/10.3923/ajbs.2012.438.448.
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Kirkland, Kevin, and Shannon Nesbitt. "The Therapeutic Value of Recording in Music Therapy for Adult Clients in a Concurrent Disorders Inpatient Treatment Facility." Voices: A World Forum for Music Therapy 19, no. 2 (June 21, 2019): 21. http://dx.doi.org/10.15845/voices.v19i2.2636.
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While recording has traditionally been viewed as a practical, adjunctive role of the music therapist, here the authors examine the skillful use of recording devices and software as fertile ground for the development of therapeutic programs with tangible benefits for adult clients in a concurrent disorders recovery setting. The integration and layering of musical composition with musical performance, digital technologies, and production, invite rich and engaging conversations about therapeutic goals, processes, and outcomes. Using methods of action research inquiry, the authors discuss how their interactions with clients through recording have yielded new insights into therapist roles and identities as well as expressions of music therapy. The case for therapy-oriented recording is outlined and a description of the authors’ research setting and data collection methods identified before a literature review on the use of recording in music therapy is provided. The authors then distinguish four types of therapeutic recording illustrated by case examples from work with clients. Their writing culminates with a discussion of challenges and benefits associated with therapeutic recording. The authors conclude that recording offers critical and rewarding yet often unrecognized opportunities for music therapists to be innovators in their field.
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Gronow, Pekka. "Recording the History of Recording: A Retrospective of the Field." International Journal for History, Culture and Modernity 7, no. 1 (November 2, 2019): 443–57. http://dx.doi.org/10.18352/hcm.565.
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The recording industry is now over 120 years old. During the first half of its existence, however, few archives documented or collected its products. Many early recordings have been lost, and discography, the documentation of historical recordings, has mainly been in the hands of private collectors. An emphasis on genre-based discographies such as jazz or opera has often left other areas of record production in the shade. Recent years have seen a growth of national sound collections with online catalogues and at least partial online access to content. While academic historians have been slow to approach the field, there has been outstanding new research on the history of the recording industry, particularly in the USA and UK. This has encouraged the development of new academic research on musical performance, based on historical sound recordings. The article discusses some recent works in this field.
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Vajda, F., and E. D. Della Torre. "Relationship between model parameters and recording industry parameters." IEEE Transactions on Magnetics 33, no. 2 (March 1997): 1588–91. http://dx.doi.org/10.1109/20.582570.
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Howard, D. M., A. Hirson, and G. Lindsey. "Acoustic techniques to trace the origins of a musical recording." Journal of the Forensic Science Society 33, no. 1 (January 1993): 33–37. http://dx.doi.org/10.1016/s0015-7368(93)72946-1.
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Ogusu, Mikio. "Musical information recording and reproducing technique for use with a recording medium having a UTOC area." Journal of the Acoustical Society of America 102, no. 2 (August 1997): 678. http://dx.doi.org/10.1121/1.419881.
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Fallowfield, Ellen. "CELLO MULTIPHONICS: TECHNICAL AND MUSICAL PARAMETERS." Tempo 74, no. 291 (December 19, 2019): 51–69. http://dx.doi.org/10.1017/s0040298219000974.
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AbstractThis article presents selected results from a research project on cello multiphonics at the Hochschule für Musik Basel within which I am producing updated fingering charts in a smartphone application and affiliated online repository. The article details work that has informed this resource and illustrates results that reveal critical questions and point to future areas of interest. I begin by introducing cello multiphonics and contextualising my previous findings, then discuss pitch content, ‘chain’ multiphonics and the balance and intonation of multiphonic components.
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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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SCANNELL, PADDY. "Music, radio and the record business in Zimbabwe today." Popular Music 20, no. 1 (January 2001): 13–27. http://dx.doi.org/10.1017/s0261143001001283.
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Radio and the recording business have, since the beginning of the last century, had a profound impact upon existing musical life whenever and wherever they have decisively and irreversibly established themselves. Their arrival restructures and redefines the social relations of music in many aspects of its production, performance and reception. Radio and recording technologies have had a significant impact on the livelihoods of all those who one way or another try to make a living from music (composers, performers and - in Europe - publishers, for instance). Performance itself is transformed as new norms are set in place which call for new levels of technique and interpretation. Finally the conditions of musical reception are reconfigured and new `taste publics' emerge, potentially in conflict with each other, as musical life is totalised into a new and complex unity.
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REHDING, ALEXANDER. "On the record." Cambridge Opera Journal 18, no. 1 (March 2006): 59–82. http://dx.doi.org/10.1017/s0954586706002102.
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The score of Kurt Weill's Zeitoper, Der Zar läßt sich photographieren (1928), is void at its centre: the musical and dramatic climax, the ‘Tango Angèle’, only exists as a gramophone recording, played on stage, while the orchestra falls silent. Just as the perennial themes of love and death are relentlessly updated in this farcical opera into their anti-metaphysical modern-day equivalents – sex and political assassination – so the music avails itself of modern media to bring across its McLuhanesque point: the medium is the message. The sound medium matters in two ways: first, the gramophone emphatically teleports the tango – a fashionable and sexually loaded dance – into the realm of opera; second, the recorded performance constitutes its exclusive musical reality. As if to underscore this point, parts and score of the ‘Tango Angèle’ were lost shortly after Weill produced the recording for the première: only the recording remained. This article reconstructs the nexus between popular music, modern sound media and operatic aesthetics in Weimar Germany: while the recording is an expression of Zeitoper's demand for radical up-to-dateness, the sound of the record, paradoxically, locks it forever in 1928. A relatively obscure work nowadays, Der Zar remains perhaps the most far-reaching response to the Opernkrise of the mid-1920s, reconfigured here as a crisis of musical writing.
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Marshall, Lee. "For and against the record industry: an introduction to bootleg collectors and tape traders." Popular Music 22, no. 1 (January 2003): 57–72. http://dx.doi.org/10.1017/s0261143003003040.
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This paper offers an introduction to a distinct group of musical consumers: bootleg collectors and tape traders. It begins by defining the types of recording under discussion before outlining some of the discourse surrounding the collection of unauthorised recordings. Bootleg collectors and tape traders exist in a relationship of mutual distrust with the legitimate music industry: collectors view the industry as a barrier to musical experience while the industry views these collectors as at best a nuisance and at worst as having a detrimental impact upon official sales. The paper argues, however, that the relationship is in fact more complex. It shows that through an intensification of discourses of authenticity, collectors of unauthorised recordings actually provide ideological support for the recording industry, helping valorise musical commodities and thus maintain a dialectical relationship between collectors and the legitimate industry.
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Camilleri, Lelio. "Shaping sounds, shaping spaces." Popular Music 29, no. 2 (May 2010): 199–211. http://dx.doi.org/10.1017/s0261143010000036.
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AbstractThe recorded format is the medium through which popular music is diffused. Since the advent of multi-track recording, the studio has become a compositional tool in which musical ideas are formed into sounding matter. Direct access to the manipulation of sound layers and the possibility of mixing different sources and moving them in the stereo window become not only technical options but musical and compositional properties. In fact, the organization of the recording space reflects more and more the structural organization of the music itself; the sound of the record is a sort of sonicprint (sounding fingerprint) of the music of an artist in a particular period. This paper develops the idea of sonic space, a multi-dimensional representation of the recording space in which spatial, morphological and spectral spaces interact in order to form the structure on which the sounding matter of the piece is developed. Through the analysis of the properties of each space and their relationships, it is possible to point out normative behaviours, well defined associations between more musical aspects like motives, harmony, melodies and their organization in the sounding structure.
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Loock, Hans-Peter, W. Scott Hopkins, Christine Morris-Blair, Rui Resendes, Jonathan Saari, and Nicholas R. Trefiak. "Recording the sound of musical instruments with FBGs: the photonic pickup." Applied Optics 48, no. 14 (May 7, 2009): 2735. http://dx.doi.org/10.1364/ao.48.002735.
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Kocherzhuk, D. V. "Sound recording in pop art: differencing the «remake» and «remix» musical versions." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 229–44. http://dx.doi.org/10.34064/khnum2-14.15.
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Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios. Research methodology. In the course of the study two concepts – «remake» and «remix» – were under consideration and comparison, on practical examples of some works of famous pop vocalists from Ukraine and abroad. So, the research methodology includes the methods of analysis for consideration of the examples from the Ukrainian, Russian and world show business and the existing definitions of the concepts “remake” and “remix”; as well as comparison, checking, coordination of the latter; formalization and generalization of data in getting the results of our study. The modern strategies of the «remake» invariance development in the work of musicians are taken in account; also, the latest trends in the creation of versions of «remix» by world class artists and performers of contemporary Ukrainian pop music are reflected. The results of the study. The research results reveal the significance of terminology pair «remix» and «remake» in the activities of the pop singer. It found that the differences of two similar in importance terms not all artists in the music industry understand. The article analyzes the main scientific works of specialists in the audiovisual and musical arts, in philosophical and sociological areas, which addressed this issue in the structure of music, such as the studies by V. Tormakhova, V. Otkydach, V. Myslavskyi, I. Tarasova, Yu. Koliadych, L. Zdorovenko and several others, and on this basis the essence of the concepts “remake” and “remix” reveals. The phenomenon of the “remake” is described in detail in the dictionary of V. Mislavsky [5], where the author separately outlined the concept of “remake” not only in musical art, but also in the film industry and the structure of video games. The researcher I. Tarasovа also notes the term “remake” in connection with the problem of protection of intellectual property and the certification of the copyright of the performer and the composer who made the original version of the work [13]. At the same time, the term “remix” in musical science has not yet found a precise definition. In contemporary youth pop culture, the principle of variation of someone else’s musical material called “remix” is associated with club dance music, the principle of “remake” – with the interpretation of “another’s” music work by other artist-singers. “Remake” is a new version or interpretation of a previously published work [5: 31]. Also close to the concept of “remake” the term “cover version” is, which is now even more often uses in the field of modern pop music. This is a repetition of the storyline laid down by the author or performer of the original version, however, in his own interpretation of another artist, while the texture and structure of the work are preserving. A. M. Tormakhova deciphered the term “remake” as a wide spectrum of changes in the musical material associated with the repetition of plot themes and techniques [14: 8]. In a general sense, “a wide spectrum of changes” is not only the technical and emotional interpretation of the work, including the changes made by the performer in style, tempo, rhythm, tessitura, but also it is an aspect of composing activity. For a composer this is an expression of creative thinking, the embodiment of his own vision in the ways of arrangement of material. For a sound director and a sound engineer, a “remix” means the working with computer programs, saturating music with sound effects; for a producer and media corporations it is a business. “Remake” is a rather controversial phenomenon in the music world. On the one hand, it is training for beginners in the field of art; on the other hand, the use of someone else’s musical material in the work can neighbor on plagiarism and provoke the occurrence of certain conflict situations between artists. From the point of view of show business, “remake” is only a method for remind of a piece to the public for the purpose of its commercial use, no matter who the song performed. Basically, an agreement concludes between the artists on the transfer or contiguity of copyright and the right to perform the work for profit. For example, the song “Diva” by F. Kirkorov is a “remake” of the work borrowed from another performer, the winner of the Eurovision Song Contest 1998 – Dana International [17; 20], which is reflected in the relevant agreement on the commercial use of musical material. Remix as a music product is created using computer equipment or the Live Looping music platform due to the processing of the original by introducing various sound effects into the initial track. Interest in this principle of material processing arose in the 80s of the XXth century, when dance, club and DJ music entered into mass use [18]. As a remix, one can considers a single piece of music taken as the main component, which is complemented in sequence by the components of the DJ profile. It can be various samples, the changing of the speed of sounding, the tonality of the work, the “mutation” of the soloist’s voice, the saturation of the voice with effects to achieve a uniform musical ensemble. To the development of such a phenomenon as a “remix” the commercial activities of entertainment facilities (clubs, concert venues, etc.) contributes. The remix principle is connected with the renewal of the musical “hit”, whose popularity gradually decreased, and the rotation during the broadcast of the work did not gain a certain number of listeners. Conclusions. The musical art of the 21st century is full of new experimental and creative phenomena. The process of birth of modified forms of pop works deserves constant attention not only from the representatives of the industry of show business and audiovisual products, but also from scientists-musicologists. Such popular musical phenomena as “remix” and “remake” have a number of differences. So, a “remix” is a technical form of interpreting a piece of music with the help of computer processing of both instrumental parts and voices; it associated with the introduction of new, often very heterogeneous, elements, with tempo changes. A musical product created according to this principle is intended for listeners of “club music” and is not related to the studio work of the performer. The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version. The texture of the original composition, in the base, should be preserved, but it can be saturated with new sound elements, the vocal line and harmony can be partially changed according to interpreter’s own scheme. The introduction of the scientific definitions of these terms into a common base of musical concepts and the further in-depth study of all theoretical and practical components behind them will contribute to the correct orientation in terminology among the scientific workers of the artistic sphere and actorsvocalists.
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Coutinho, Eduardo, and Klaus R. Scherer. "The effect of context and audio-visual modality on emotions elicited by a musical performance." Psychology of Music 45, no. 4 (October 26, 2016): 550–69. http://dx.doi.org/10.1177/0305735616670496.
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In this work, we compared emotions induced by the same performance of Schubert Lieder during a live concert and in a laboratory viewing/listening setting to determine the extent to which laboratory research on affective reactions to music approximates real listening conditions in dedicated performances. We measured emotions experienced by volunteer members of an audience that attended a Lieder recital in a church (Context 1) and emotional reactions to an audio-video-recording of the same performance in a university lecture hall (Context 2). Three groups of participants were exposed to three presentation versions in Context 2: (1) an audio-visual recording, (2) an audio-only recording, and (3) a video-only recording. Participants achieved statistically higher levels of emotional convergence in the live performance than in the laboratory context, and the experience of particular emotions was determined by complex interactions between auditory and visual cues in the performance. This study demonstrates the contribution of the performance setting and the performers’ appearance and nonverbal expression to emotion induction by music, encouraging further systematic research into the factors involved.
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Kivy, Peter. "Authorial Intention and the Pure Musical Parameters." Royal Institute of Philosophy Supplement 71 (October 2012): 33–50. http://dx.doi.org/10.1017/s1358246112000203.
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Tubul, Zohar Eitan Nurit. "Musical Parameters and Children's Images of motion." Musicae Scientiae 14, no. 2_suppl (September 2010): 89–111. http://dx.doi.org/10.1177/10298649100140s207.
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Zhang, Mingfeng, Mark Bocko, and James W. Beauchamp. "Measurement and analysis of musical vibrato parameters." Journal of the Acoustical Society of America 137, no. 4 (April 2015): 2404. http://dx.doi.org/10.1121/1.4920755.
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Beauchamp, James. "Perceptually Correlated Parameters of Musical Instrument Tones." Archives of Acoustics 36, no. 2 (May 1, 2011): 225–38. http://dx.doi.org/10.2478/v10168-011-0018-8.
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AbstractIn Western music culture instruments have been developed according to unique instrument acoustical features based on types of excitation, resonance, and radiation. These include the woodwind, brass, bowed and plucked string, and percussion families of instruments. On the other hand, instrument performance depends on musical training, and music listening depends on perception of instrument output. Since musical signals are easier to understand in the frequency domain than the time domain, much effort has been made to perform spectral analysis and extract salient parameters, such as spectral centroids, in order to create simplified synthesis models for musical instrument sound synthesis. Moreover, perceptual tests have been made to determine the relative importance of various parameters, such as spectral centroid variation, spectral incoherence, and spectral irregularity. It turns out that the importance of particular parameters depends on both their strengths within musical sounds as well as the robustness of their effect on perception. Methods that the author and his colleagues have used to explore timbre perception are: 1) discrimination of parameter reduction or elimination; 2) dissimilarity judgments together with multidimensional scaling; 3) informal listening to sound morphing examples. This paper discusses ramifications of this work for sound synthesis and timbre transposition.
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Puchalska, Iwona. "Deus ex machina, czyli o doświadczeniu fonografii w poezji Stanisława Barańczaka / DEUS EX MACHINA, OR THE EXPERIENCE OF PHONOGRAPHY IN THE POETRY OF STANISŁAW BARAŃCZAK." Ruch Literacki 54, no. 4-5 (October 1, 2013): 477–94. http://dx.doi.org/10.2478/v10273-012-0082-3.
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Summary This article deals with a new range of musical topoi that entered the literature of the 20th century following the invention of new techniques of recording and copying of sound. The phonographic revolution led to a wide-ranging revision of traditional musical terms and opened the way for new approaches to the problem of ontology of the musical work of art. Its ripples also reached the realm of poetry, giving rise to new motifs and themes of ‘poetic musicology’. Stanisław Barańczak is without doubt a typical phonographic poet, and his work both reflects the general developments in the world of music and shows a uniquely personal literary-musical profile.
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CLARKE, ERIC F. "The Impact of Recording on Listening." twentieth-century music 4, no. 01 (March 2007): 47–70. http://dx.doi.org/10.1017/s1478572207000527.
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AbstractThe development of recording is arguably the most significant change to have affected music in the twentieth century. Never before have people had access to so much music and in so many different ways and with so many different patterns of use. This paper examines some of the effects of recording on listening, starting with a brief outline of an ecological theory of listening and focusing on three specific characteristics of recordings: the interpenetration of music and the wider environment; recordings as medium and as object; and the relationship between social and solitary listening practices. Recording has attracted both utopian and dystopian commentaries on its effects on musical culture, and the paper concludes by considering both the opportunities and the drawbacks of recordings as a means of access to music.
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Gorbunova, Irina B. "Musical Computer." ICONI, no. 2 (2020): 60–78. http://dx.doi.org/10.33779/2658-4824.2020.2.060-078.
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A new page in the manifestation and demonstration of expressive means of musical sound has been opened by the computer as a musical instrument, or the “musical computer.” Contemporary musicians have endeavored at the attempts at connecting composition with the theory of information, the unification of musical and acoustic parameters, having realized the idea of a regulated poly-dimensional sound space, a multilevel compositional model applied for sound generation with the use of concisely differentiated modulations of parameters of the level of frequencies, durations and dynamics. In the present lecture the author turns to the main stages of the evolution of the concept of “musical computer” reflecting the changes in the sound and the musical material during the course of the development of the practice of composition and music-making; questions are examined in connection with the particularities of development of the computer synthesis of sound; a retrospective analysis of technical and technological experiments made by musicians in their interactions with computer technologists, who have enhanced the development of the musical computer as a polyfunctional musical instrument, including the capabilities of its use as a means of providing the symphonic organization of music by means of stereophonic panorama setting of musical space; a broad range of issues is touched upon in connection with the peculiarities of musicians’ thinking and perception, including the impediments to a consistent acquisition of possibilities of the programmed musical instrument existent in the sphere.
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Karl, Brian. "Technology in Modern Moroccan Musical Practices." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 790–93. http://dx.doi.org/10.1017/s0020743812000918.
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The proliferation of technologies in use for popular music in Morocco points to cultural interactions beyond the most local or national influences that inform musical practices there. Examining the integration of technologies from outside Morocco—including musical instruments, recording media, and distribution systems—sheds light on negotiations of novelty and difference in contemporary Moroccan social and political life and thus on multiple facets of how late modernity has played out there. Among other broad areas of significance that musical practices help illuminate are the social and economic effects of colonial and postcolonial interactions, including the development of cash economies, globalized exchange, and cultural tourism; nationalist initiatives to define culture; and large-scale migration to Europe and elsewhere in recent decades, following a longer population shift in 20th-century Morocco from primarily rural locales to burgeoning urban centers.
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Nelson, Nicholas R. "Code-switching and Loanwords for the Audio Engineer: The flow of terminology from science, to music, to metaphor." Organised Sound 23, no. 2 (July 31, 2018): 189–94. http://dx.doi.org/10.1017/s1355771818000067.
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The social and sociological implications of what David Beer calls the ‘precarious double life’ of the recording engineer – a technical professional on one hand, an artistic one on the other – are only recently coming to the fore in scholarship. Bruno Latour’s Actor-Network theory and the Social Construction of Technology theory pioneered by Trevor Pinch, as well as the contributions of Susan Schmidt-Horning and Beer himself, have begun to give us an intellectual framework to examine how social forces shape sound technology and the variegated implications of that shaping.This article examines the case of the ‘bilingualism’ required of the recording engineer. Drawing on primary sources from across the twentieth century, it traces the case of scientific terminology becoming musical terminology, that musical terminology becoming ingrained in consumer culture, and that ingrained, well-understood musical terminology becoming, finally, metaphorical.We trace the case of spectral terminology from Joseph P. Maxfield’s articles explaining electromechanical recording to a general audience in the publication Scientific American in the 1930 s, through the application of spectral terminology in advertising during the hi-fi boom of the midcentury, and finally to the metaphorical use of the same terminology in popular music in the last two decades of the century. We show, then, that it is not only the audio engineer, but also their terminology itself that participates in a ‘double life’.