Journal articles on the topic 'Recording studios'
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Long, Marshall. "Acoustics of Recording Studios." Acoustics Today 9, no. 2 (2013): 8. http://dx.doi.org/10.1121/1.4817483.
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LL. "Bats copy calls in mini recording studios." New Scientist 246, no. 3279 (April 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)30801-0.
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Case, Alexander U. "Recording studios—Optimized, contrived, and augmented spaces." Journal of the Acoustical Society of America 137, no. 4 (April 2015): 2428. http://dx.doi.org/10.1121/1.4920859.
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Drury, G. M. "Professional video recording: alternatives for broadcast studios." Journal of the Institution of Electronic and Radio Engineers 55, no. 5 (1985): 183. http://dx.doi.org/10.1049/jiere.1985.0054.
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Thompson, Paul, and Brett Lashua. "Producing music, producing myth? Creativity in Recording Studios." IASPM@Journal 6, no. 2 (December 31, 2016): 70–90. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.5en.
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Gibson, Chris. "Recording Studios: Relational Spaces of Creativity in the City." Built Environment 31, no. 3 (September 1, 2005): 192–207. http://dx.doi.org/10.2148/benv.2005.31.3.192.
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Brewer, Roy. "String musicians in the recording studios of Memphis, Tennessee." Popular Music 19, no. 2 (April 2000): 201–15. http://dx.doi.org/10.1017/s0261143000000118.
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ROY BREWERIntroductionFrom the mid-1960s to mid-1970s, Memphis, Tennessee was home of one of the most successful recording industries in the USA and its popular recorded releases began to rival those of Nashville, Los Angeles, New York and Detroit. Solo artists, song writers, session musicians and arrangers became overnight successes and a rebellious and influential upstart recording industry emerged. But the growth was too fast and, fuelled by zealous egos and competition, an infrastructure was never formed resulting in a musical and financial cataclysm from which the Memphis music community has yet to recover. This article is about those classically trained string musicians who were hired to play in the studios of Memphis during that era.
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Jacobs. "The Innovation of Re-Recording in the Hollywood Studios." Film History 24, no. 1 (2012): 5. http://dx.doi.org/10.2979/filmhistory.24.1.5.
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Herbst, Jan-Peter. "Recording studios as museums? Record producers’ perspectives on German rock studios and accounts of their heritage practice." Popular Music 40, no. 1 (February 2021): 91–113. http://dx.doi.org/10.1017/s026114302100009x.
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AbstractRecording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: record producers and studio owners as the people in charge of popular music creation. Three German rock and metal producers expressed their opinion on the usefulness of studio museums and explained their own heritage practices. Their insights demystify the ‘magical aura’ associated with recording studios, picturing these spaces as places of pressure and anxiety. Hardly convinced of the technologically deterministic ‘magical contamination’ of technical equipment, the producers see little sense in studios as museums. For them, the released record is what counts. To stay in touch with the community and to keep the memory of their work alive, they prefer to use social media.
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Van Schyndel, A. J. "Digital Voice Indexing for Professional Studios." Journal of Visual Impairment & Blindness 84, no. 10 (December 1990): 516–17. http://dx.doi.org/10.1177/0145482x9008401007.
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A self-contained voice-indexing system using digital recording techniques was developed in 1981 to provide high-quality voice indexing in a studio environment. One goal was to design a simple operating procedure that would not require a technician. A major revision has resulted in a prototype second-generation digital voice indexer. The original design concepts are described, as well as improvements in the new prototype.
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Mazur, Olexander. "Sound recordings from radio archives: the restoration of music in digits." Obraz 35, no. 1 (2021): 142–51. http://dx.doi.org/10.21272/obraz.2021.1(35)-142-151.
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A holistic historical and informational analysis was conducted in the scientific context of the synergy of two systems – sound recording and radio broadcasting. Methodological support of the study was based on the use of general scientific and special methods. Taking into account the experience of «BBC Radio 1» in creating a unique collection of sound recordings and areas of use of music collections as objects of archival storage, the features of recording music sessions in recording studios of radio stations are revealed. The main methods of restoration, restoration and digitization of stock music phonograms of radio broadcasting subjects are revealed. Find out which software products perform digitization tasks. The author concludes that the basis for the protection and storage of music collections of radio archives is the organization of a system of backup and duplication of data.
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Bennett, Samantha. "Behind the magical mystery door: history, mythology and the aura of Abbey Road Studios." Popular Music 35, no. 3 (September 14, 2016): 396–417. http://dx.doi.org/10.1017/s0261143016000556.
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AbstractIn rock historiography, Abbey Road Studios is depicted as the rock canon's ultimate recording house; home to the Beatles, Pink Floyd and a generation of classic rock album production. In recent years, the studio has struggled to maintain itself as an operational recording house, yet effectively exploits its past to secure its future. This article considers issues of heritage, pilgrimage and tourism before elucidating brand ‘Abbey Road’ as a conflation of geographical location, zebra crossing, graffiti wall, recording house and aura. In separating the tangible aspects of Abbey Road's heritage – the zebra crossing, graffiti wall and the Beatles Abbey Road album – out from its intangibles – its ‘magic’, legacy and studio ‘vibe’ – Abbey Road's studio aura is exposed as a commodity in its own right.
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Brown, Michael. "Review of acoustically related design factors for three recent Los Angeles area music studios." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 6 (August 1, 2021): 670–81. http://dx.doi.org/10.3397/in-2021-1622.
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The design of a professional-quality music recording studios involves a specific set of challenges, namely the need to provide high levels of sound isolation, rigorous noise and vibration control for building support systems, and the provision of acoustically appropriate room finishes. The optimization of design solutions for each of these challenges depends upon project-specific requirements, including aesthetic objectives, base building constraints and the musical genres being recorded. This paper reviews how these challenges were successfully addressed in three recent Los Angeles area music recording/broadcast studio projects. Projects reviewed include a recording studio at University of California, Los Angeles, where challenges included the need to accommodate all musical genres, from jazz, to orchestra, to drum ensembles. The two other studios were both for broadcast organizations: KCRW, an influential NPR-affiliated music-orientated radio station and for the commercial radio broadcaster SiriusXM. The paper includes discussion of why and how various acoustical techniques were utilized, including use of "floating" construction and live room variable acoustics. Solutions for successfully incorporating significant areas of glazing into live rooms and accommodation of audiences are also discussed, along with the various acoustical room finishes that were applied.
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Vallee, Mickey. "The Take and the Stutter: Glenn Gould's Time Synthesis." Deleuze Studies 9, no. 4 (November 2015): 558–77. http://dx.doi.org/10.3366/dls.2015.0204.
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In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall.
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Passeri, Lineu, and Sylvio R. Bistafa. "Brazilian professional recording studios: Analysis and diagnostics of their acoustical properties." Journal of the Acoustical Society of America 112, no. 5 (November 2002): 2257. http://dx.doi.org/10.1121/1.4778995.
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HARRISON, ANTHONY KWAME. "“What Happens in the Cabin . . .”: An Arts-Based Autoethnography of Underground Hip Hop Song Making." Journal of the Society for American Music 8, no. 1 (February 2014): 1–27. http://dx.doi.org/10.1017/s1752196313000588.
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AbstractTaking an autoethnographic perspective that foregrounds the interplay between the author's artist-self and researcher-self, this article explores the relationship between agency and structure in the activities surrounding underground hip hop music making within a home studio recording space. It aims to demystify the aura of in-studio music creation by focusing on the nexus of oral/written, pre-composed/improvised, and pre-recorded/live creative practices as experienced within the context of performance. Utilizing Harris Berger's notion of stance, I discuss how hip hop recording artists transcend performative self-consciousness in the pursuit of creativity. Ultimately, this article presents hip hop home recording studios as spaces that facilitate particular kinds of musical innovation through a mix of collective and individual pursuits, as well as routinized and spontaneous activities.
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Arcidiacono, Gabriele, and Pierpaolo Placidoli. "Reality and Illusion in Virtual Studios: Axiomatic Design Applied to Television Recording." Procedia CIRP 34 (2015): 137–42. http://dx.doi.org/10.1016/j.procir.2015.07.079.
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Harkness, Geoff. "Get on the Mic: Recording Studios as Symbolic Spaces in Rap Music." Journal of Popular Music Studies 26, no. 1 (March 2014): 82–100. http://dx.doi.org/10.1111/jpms.12061.
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Gander, Jonathan Michael. "Situating creative production: recording studios and the making of a pop song." Management Decision 53, no. 4 (May 18, 2015): 843–56. http://dx.doi.org/10.1108/md-03-2014-0165.
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Brookes, Daniel, Waleed I. Hamad, James P. Talbot, Hugh EM Hunt, and Mohammed FM Hussein. "The dynamic interaction effects of railway tunnels: Crossrail and the Grand Central Recording Studios." Proceedings of the Institution of Mechanical Engineers, Part F: Journal of Rail and Rapid Transit 232, no. 2 (December 19, 2016): 542–59. http://dx.doi.org/10.1177/0954409716679446.
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In cities around the world, underground railways offer an environmentally friendly solution to society’s increasing demand for mass transport. However, they are often constructed close to sensitive buildings, where the resulting ground-borne noise and vibration can cause disturbance to both the occupants and the equipment. Such a scenario occurred in central London, where the new twin tunnels of Crossrail were bored beneath the Grand Central Recording Studios, causing an immediate concern. As a result, vibration in the studios’ building was monitored throughout the Crossrail construction period. Since Crossrail is yet to operate, the resulting data provide a unique opportunity to investigate the effect of new tunnels, acting as passive buried structures, on the existing vibration environment. This paper presents the results of such an investigation, together with complementary results from a theoretical four-tunnel boundary-element model. The data analysis, presented in the first half of the paper, indicates that the construction of the second Crossrail tunnel has led to an overall reduction in the noise and vibration levels beneath the studios, due to the operation of the nearby Central line trains of London Underground. This is predominantly due to a reduction of approximately 6 dB in the 63 Hz band-limited levels but accompanied by a slight increase, of approximately 2 dB, in the 125 Hz band. Further analysis indicates that any seasonal variations in vibration levels over the measurement period are negligible, adding weight to the conclusion that the observed changes are a causal effect of the tunnel. The second half of the paper presents results from the model, which aims to simulate the dynamic interaction between the Central line tunnels and those of Crossrail. With nominal parameter values, the results demonstrate qualitative similarities with the measurement findings, thereby adding to the growing body of evidence that dynamic interaction between neighbouring tunnels can be significant.
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Grebin, Alex, Ninel Levenets, and Volodymyr Shvaichenko. "METHODS OF QUALITY CONTROL OF PHONOGRAMS DURING RESTORATION AND RECOVERY." ScienceRise, no. 1 (February 27, 2021): 22–32. http://dx.doi.org/10.21303/2313-8416.2021.001673.
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The object of research. Process of phonograms restoration and recovery are described.
Investigated problem. Differences between some methods of quality control of phonograms during and after their restoration and recovery were investigated.
The main scientific results. An instrumental method for objective assessment of the quality of phonograms is proposed, based on a non-intrusive model with parametric modeling of the phonogram signal to assess the effect of an artifact on a phonogram.
The area of practical use of the research results. The results of the operational control of objective quality indicators of a real sound signal using virtual measuring instruments built into the software for working with sound are considered.
An innovative technological product: a technology for assessing the quality of phonograms in the process of restoration and recovery (R&R), which makes it possible to objectively assess the quality of phonograms, taking into account artifacts of phonograms caused by the method of recording phonograms, the conditions of their storage, etc. enough high quality restored audio content.
Scope of application of the innovative technological product: studio of restoration and recovery of sound phonograms on analog media, recording studios, technological processes of conversion and processing of sound programs, archives of radio and television recordings.
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Fenster, Mark. "Buck Owens, country music, and the struggle for discursive control." Popular Music 9, no. 3 (October 1990): 275–90. http://dx.doi.org/10.1017/s0261143000004098.
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In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mainstream, adult pop music. The beat and whine of the honky-tonk song, as epitomised by the rural twang in the music of Hank Williams, Lefty Frizzell and Webb Pierce, was being replaced as the dominant country music sound by the smooth and urbane ballad styles of Eddy Arnold, Jim Reeves and Patsy Cline. This shift was both caused by and helped to foster the development of a steady set of studio musicians who would appear on thousands of country recordings per year. The musical style that coalesced in Nashville studios through the regular collaboration of these musicians and the record label producers who loosely arranged them became known as the ‘Nashville Sound’, a marketable and identifiable name for a particular set of musical conventions. This sound, nearly as similar to Rosemary Clooney as it was to Hank Williams, called into question the generic boundaries between ‘country’ music and mainstream ‘pop’ music.
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Boudreault-Fournier, Alexandrine. "Positioning the New Reggaetón Stars in Cuba: From Home-Based Recording Studios to Alternative Narratives." Journal of Latin American and Caribbean Anthropology 13, no. 2 (November 2008): 336–60. http://dx.doi.org/10.1111/j.1935-4940.2008.00041.x.
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Brown, Rebekah Ann, and Elizabeth Ivanoff Holborn. "The Colour Strings Method for the Young Violinist." American String Teacher 44, no. 2 (May 1994): 53–57. http://dx.doi.org/10.1177/000313139404400222.
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Violinist Rebekah Ann Brown is director of the Columbus School of Music and the Violin School of Bloomington, Indiana. At Indiana University, she specializes in violin pedagogy. She conducts psychoacoustic research in measurements of expressive intonation by recording artists and performs comparative studies of holistic philosophies. She has studied Colour Strings in this country and in London and has a Suzuki certificate from Matsumoto, Japan. Brown has taught in private studios, public schools, and universities and has been a musical director of youth symphonies. Her expertise is sought in clinics and seminars and by artists-in-residence who are working with students and teachers. She uses both orchestral literature and American fiddle music with students for developing technique. She has also cataloged an extensive list of twentieth-century music for technical studies at all levels of proficiency.
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HELMREICH, STEFAN, and PETER McMURRAY. "Tape, Prince, and the Studio: Interview with Susan Rogers 23 May 2016, Cambridge, MA." Twentieth-Century Music 14, no. 1 (February 2017): 135–47. http://dx.doi.org/10.1017/s1478572217000111.
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Susan Rogers has lived many musical lives. As a faculty member at Berklee College of Music, she directs the Berklee Music Cognition and Cognition Laboratory, expanding her research in auditory memory, which she began during her doctoral studies with Daniel Levitin at McGill University. She also teaches analogue studio production, drawing on two decades of experience in recording studios. She is especially well known for her years working as Prince's staff engineer (1983–87), a period in which she not only encountered Prince's own unique uses of tape, but also created his now-infamous tape vault. In many ways, the immediate impetus for this interview was Prince's untimely passing on 21 April 2016. In previous interviews, Rogers had already emerged as a lucid commentator on Prince's work first-hand, but that context adds a certain emotional heft to this interview, conducted one month after the pop music star's death.
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Aretz, Marc. "Specification of Realistic Boundary Conditions for the FE Simulation of Low Frequency Sound Fields in Recording Studios." Acta Acustica united with Acustica 95, no. 5 (September 1, 2009): 874–82. http://dx.doi.org/10.3813/aaa.918219.
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Wilson, Oli. "Plesand Popular Music Production: A Typology of Home-based Recording Studios in Port Moresby, Papua New Guinea." Ethnomusicology Forum 23, no. 3 (September 2, 2014): 425–44. http://dx.doi.org/10.1080/17411912.2014.975142.
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Nam, Myoung woo. "Finding an appropriate headphone-based stereo track playback methods by referencing acoustic characters of professional recording studios." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2559. http://dx.doi.org/10.1121/1.5014356.
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Manning, Jane. "A SIXTIES ‘PIERROT’: A PERSONAL MEMOIR." Tempo 59, no. 233 (June 21, 2005): 17–25. http://dx.doi.org/10.1017/s0040298205000203.
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The re-discovery and recent commercial release, on Regis/Forum, of one of my earliest performances of Schoenberg's Pierrot Lunaire, cannot help but evoke a mood of piquant personal reminiscence. The recording was made in 1967 at Olympic Studios in London, roughly two years after I first became acquainted with this riveting, endlessly compelling and many-layered masterpiece. The mid-1960s were marked by optimism, eager creative responses to the challenge of the new, and a spirit of idealism that is perhaps difficult to recapture in today's more commercially-driven world.
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Jhingan, Shikha. "Backpacking Sounds." Feminist Media Histories 1, no. 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.
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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with the material she has collected. Khanwalkar's collaborative approach to musical sound has challenged genre boundaries between film music and folk music on the one hand and the oral and the recorded on the other. Her radical intervention in sound and music brings together unexplored spatialities, voices, bodies, and machines by foregrounding the process of citation, recording, and digital reworking. Through an exploration of Khanwalkar's work, involving travel, mobility, and a prosthetic extension of the body through the microphone, the author brings into discussion emerging practices that have expanded the aural boundaries of the Bombay film song.
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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (December 1, 2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.
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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was measured, each collected on a different day, yielding a total of 114 measurements. Results showed that 20.2% of all recordings exceeded the recommended NIOSH sound exposure limits of both 100% projected daily dose and 85 LAeq. Analysis between styles of dance demonstrated significantly lower LAeq (p≤0.05) in soft shoe Irish dance compared to ballet (p=0.023), modern (p=0.035), and Irish hard shoe dance (p=0.009). Irish soft shoe dance demonstrated minimal to no risk of high sound exposure. Conversely, 53.25% of ballet, 90.9% of Irish hard shoe dance, and 68.24% of modern recordings exhibited minimal to moderate risk of high sound exposure. Furthermore, we found wide ranges of projected daily noise doses within classes taught by the same teacher. It is recommended that multiple recordings of dance environments be obtained, as a single sound recording may not accurately represent potential exposure. These findings indicate that dancers of Irish hard shoe, modern, and ballet may benefit from noise intervention such as audiometric testing, noise controls, and hearing protection.
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Wilson, Oli. "From Home-Studios to Mobile Phones: Recent Trends in Popular Music Recording and Sharing in Papua New Guinea." Journal of World Popular Music 6, no. 2 (November 7, 2019): 133–50. http://dx.doi.org/10.1558/jwpm.36114.
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Kant, Sophy, Julian Walsh, Christopher R. Hall, Alison Rodger, and Gareth Mitchell. "An introduction to communicating science." New Directions in the Teaching of Physical Sciences, no. 3 (February 23, 2016): 27–32. http://dx.doi.org/10.29311/ndtps.v0i3.413.
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It is becoming increasingly recognised that students in Higher Education must acquire the skills necessary for professional and personal development, as well as for academic progress. The media have recently focused on the issue of declining public interest in the sciences and the lack of accurate reporting of science. We have developed a new programme, which endeavours to address both issues involving a three day intensive course covering writing, TV and radio. In addition to the targeted activities of learning the skills of science communication, the programme encourages partnerships, and exploits the resources and expertise available from various institutions. The undertaking of this type of programme is not limited to the acquisition of time slots in a studio such as Bush House. Most university campuses are now home to their own recording studios and even have television facilities. However, the programme requires only a video camera and audio recording equipment. The success of this science communication module and oftwo others run by MOAC and CBC (Team Development and Decision-making and Leadership) has encouraged us to develop a complete postgraduate certificate in transferable skills. We anticipate the certificate will be a valuable vehicle for consolidating and enhancing the training discussed in this article.
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Gluck, Robert. "The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran." Leonardo 40, no. 1 (February 2007): 20–28. http://dx.doi.org/10.1162/leon.2007.40.1.20.
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Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.
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ONAN, Berna COŞKUN, and Mert ÜNLÜSOY. "Three-Dimensional Works Designed for Schools Without Studios: A Multiple-Case Study." Journal of Education and Learning 9, no. 6 (November 25, 2020): 133. http://dx.doi.org/10.5539/jel.v9n6p133.
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Based on the learning outcomes, values, skills/proficiency and job safety for grades 6, 7 and 8 from the 2017 Visual Arts Course Curriculum (MEB, 2017), outcomes related to three-dimensional work have been associated with care, love, responsibility and inquiry and activities “My Money”, “Abstract Sculpture” and “Talking Emojis” have been planned. They have been completed with visually rich presentations and step by step implementation phases and presented to the subject teachers intended for practices. In the data collection process, the activities were observed by the researcher, audio and video recording made and right after the activities interviews with the students and teachers were made and student work was collected to examine documentation. Data obtained during the data collection process have been analyzed with thematic analysis method and taking into consideration the basic characteristic of multiple case study and the themes obtained have been evaluated with the theme titles; “Connections”, “Internalization” and “Realization”. Among the outcomes of the results of the research are the facts that the bases of skill/proficiency, value and job safety are important at activity planning and that rich presentations and step by step applications can transfer the relevant outcomes of the students into behavior. It is also attention-grabbing that students, who gain the values of respect, love and care for their environment through three-dimensional work, can transfer mathematical, digital, social skills and those related to citizenship to their lives.
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Curtis, Maria. "“I Have a Voice”: Despatialization, Multiple Alterities and the Digital Performance of Jbala Women of Northern Morocco." HAWWA 13, no. 3 (October 15, 2015): 323–43. http://dx.doi.org/10.1163/15692086-12341285.
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The Jbala region of northern of Morocco is one that defies easy categorization, containing dialects, styles of dress and performance genres not found elsewhere. Jbala women, “mountain women”, are often the stuff of folklore and are well known for an inimitable form of localzajal, spoken poetry delivered in Derrija, or Moroccan Arabic. ‘Ayoua is a form of poetry that is traditionally sung outdoors as a way to help pass the monotony of daily gendered tasks such as agricultural work and herding animals and is also used to venerate local saints. This paper focuses on the shift of ‘Ayoua and Jbala women and the genre of ‘Ayoua as it moves from agricultural fields to small local recording studios to the digital spaces of Facebook and YouTube interviews and concert performances.
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Z., Klymko, Proskuryakov O., and Kubai R. "COMPARISON OF CREATIVITY OF THE WORLD FAMOUS ARCHITECT AND SCENOGRAPHIST F. KIESLER AND SCENOGRAPHIST AND ARCHITECT E. LYSYK." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 91–96. http://dx.doi.org/10.23939/sa2020.02.091.
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The end of the XIX and XX centuries, among other things in architecture, design, scenography were marked by the unique work of two great artists - F. Kizler, born September 22, 1890 in Chernivtsi and E. Lysyk, born September 21, 1930 in the village. Cords near Brody. Their birth, life, creative heritage showed and proved that the era of the Great Artists of the universal type, who synthesized architects, painters, sculptors, decorators, the leader among whom was KF Schinkel, did not end there. Both Kizler and Lysyk showed that such creativity not only did not end, but thanks to their activity was reborn, developed and acquired their personal features. Starting his artistic career in theater with spiral, spatial, collapsible stages, "infinite" and "boundless" spherical theaters, F. Kizler designed and implemented a number of scenographic solutions for Karel Chapek's "Ruhr", "In the Garden in the Pasture" in M opera, New York, "No Way Out", "Soldier's Story", in which he used mechanical devices for scenographic solutions, elevators in the stage space, the idea of "plasticization", fountains. Later, F. Kizler put forward the idea of a theater-complex, which in addition to halls and stages, should be cinemas, television studios, radio stations, publishing houses, recording studios, exhibition spaces.
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Barlow, Christopher. "Potential hazard of hearing damage to students in undergraduate popular music courses." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 175–82. http://dx.doi.org/10.21091/mppa.2010.4036.
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In recent years, there has been a rapid growth in university courses related to popular and commercial music, with a commensurate increase in the number of students studying these courses. Students of popular music subjects are frequently involved in the use of electronically amplified sound for rehearsal and recording, in addition to the "normal" noise exposure commonly associated with young people. The combination of these two elements suggests a higher than average noise exposure hazard for these students. To date, the majority of noise studies on students have focused on exposure from personal music players and on classical, orchestral, and marching band musicians. One hundred students across a range of university popular music courses were surveyed using a 30-point questionnaire regarding their musical habits both within and external to their university courses. This was followed by noise dosimetry of studios/recording spaces and music venues popular with students. Questionnaire responses showed 76% of subjects reported having experienced symptoms associated with hearing loss, while only 18% reported using hearing protection devices. Rehearsals averaged 11.5 hrs/wk, with a mean duration 2 hrs 13 mins and mean level of 98 dB LAEQ. Ninety-four percent of subjects reported attending concerts or nightclubs at least once per week, and measured exposure in two of these venues ranged from 98 to 112 dB LAEQ with a mean of 98.9 dB LAEQ over a 4.5-hr period. Results suggested an extremely high hazard of excessive noise exposure among this group from both their social and study-based music activities.
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Fowler, Michael. "Sounds in space or space in sounds? Architecture as an auditory construct." Architectural Research Quarterly 19, no. 1 (March 2015): 61–72. http://dx.doi.org/10.1017/s1359135515000226.
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The absolute consideration of the acoustic environment within architectural design praxis has traditionally been reserved only for those specialised listening facilities such as concert halls or recording studios. This is in spite of numerous recent calls from architects and theorists such as Juhani Pallasmaa, Ted Sheriden, Karen Van Lengen, and Björn Hellström that architectural praxis must seek to move beyond what Jeremy Till describes as the vanity of form, and what Rafael Pizarro acknowledges as the seductive immediacy of pure visual articulations of space. That architectural design has traditionally been in a more than willing position to seek out myriad influences, theories, and extra-architectural knowledge has even led Jean-Claude Guédon and Botond Bognar to argue that architecture has ceased to occupy a finite domain – its boundaries have dissipated as the definition of what architecture is continues to evolve and expand.
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Jones, Steve. "Music and the Internet." Popular Music 19, no. 2 (April 2000): 217–30. http://dx.doi.org/10.1017/s026114300000012x.
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The fact is, if you want to make a difference in music, you have to change the machine. (Christie 1998)In my book Rock Formation I borrowed from Walter Ong and Jacques Attali when I noted that, ‘The ability to record sound is power over sound.’ (Jones 1992, p. 51) I continue to believe that statement to be true. Arguments that I then made about the increasing role computers would play in the production of music have been borne out. They were not hard forecasts to make: one only had to imagine that the processing power of computer chips would continue to increase according to Moore's Law and then extrapolate the possibilities such increases would create for sound recording and reproduction. Even comments I made, vaguely tongue-in-cheek, expecting that we would have, in addition to the ability to record high-quality digital audio in the home, the ability to press CDs at home, and print colour inserts for CD jewel boxes, thus creating not only home studios but home pressing plants, have become a reality. However, with but a few years' hindsight, I want to append to these an argument that recording sound matters less and less, and distributing it matters more and more, or, in other words, the ability to record and transport sound is power over sound. Consequently, technology is an even more important element to which popular music scholars must attend.
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Anderson, Isobel, and Tullis Rennie. "Thoughts in the Field: ‘Self-reflexive narrative’ in field recording." Organised Sound 21, no. 3 (November 11, 2016): 222–32. http://dx.doi.org/10.1017/s1355771816000194.
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This article considers the presence of ‘self-reflexive narrative’ in field recording. The authors interrogate a common presumption within sonic arts practice and sound studies discourse that field recordings represent authentic, impartial and neutral documents. Historically, field recording practice has not clearly represented narratives of how, when, why and by whom a field recording is made. In contrast, the social sciences have already experienced a narrative ‘turn’ since the 1970s, which highlighted the importance of recognising the presence and role of the researcher in the field, and also in representations of fieldwork. This provides an alternative framework for understanding field recording, in considering the importance of the recordist and their relationship with their recordings. Many sonic arts practitioners have already acknowledged that the subjective, personal qualities of field recording should be embraced, highlighted and even orated in their work. The authors’ own collaborative projectThoughts in the Fieldfurther explores these ideas, by vocalising ‘self-reflexive narratives’ in real time, within field recordings. The authors’ collaborative composition,Getting Lost(2015), demonstrates the compositional potentials this approach offers.
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Indraswari, Erika Dignitya. "Kiat Belajar Sistem Gerak Karakter Animasi." Humaniora 3, no. 2 (October 31, 2012): 549. http://dx.doi.org/10.21512/humaniora.v3i2.3398.
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Every animator has a different way of planning to make animated characters motion system. Planning makes animation can be done by making the timing including with the drawing motion pose options on the character, making self-video recording contained own acting choices, and studying references in accordance with the animation that will be created. Creating animated characters requires skills in image selection, acting, and timing. Before going through the process of making animation, an animator must know and understand the characters and situations in a scene. Every movement and action should have a reason to show the personality of the characters in order to complete the story supports. In addition to the nature of the characters, an animator also needs to know the situation in a scene. Many animators use animation principles that have been developed by Walt Disney Studios, USA, to improve their animated creations. Yet, many animators also develop their animated creations using principles that have been developed in Japan. However, the discussion in this paper is the animation using the principles developed in the United States.
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Lorre, Sean. "Rhythm and Bluebeat." Journal of Popular Music Studies 31, no. 3 (September 2019): 95–118. http://dx.doi.org/10.1525/jpms.2019.313010.
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Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually, mainstream British popular music, JA-R&B is often relegated to a side note in the histories of Jamaican ska/reggae and British blues. This essay recuperates the production, emulation, consumption and mediation of JA-R&B into a broader narrative of the British R&B boom, a phenomenon often understood as a precursor to the British Invasion and the (re)birth of rock music as a major force in Anglo-American popular culture. As this essay details, JA-R&B was the product of a complex web of cultural interaction animated by a confluence of black Americans, Jamaicans of various ethnicities (living at home and abroad), and white Britons. The routes by which JA-R&B moved from the relative shadows of the underground Jamaican-settler social scene into the clubs of Soho, to London’s recording studios, and eventually onto the pop charts through British-made recordings are traced here through analysis of contemporaneous discourse found in The West Indian Gazette, Disc, Melody Maker, New Record Mirror, and New Musical Express. I conclude that JA-R&B’s eventual “novelty” status, coupled with apparent anxieties about the growing West Indian immigrant population in Britain, elided the possibility that JA-R&B could be valued on the same terms and by the same standards as “authentic,” American-originated R&B.
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NORTON, KAY. "“Yes, [Gospel] Is Real”: Half a Century with Chicago's Martin and Morris Company." Journal of the Society for American Music 11, no. 4 (October 20, 2017): 420–51. http://dx.doi.org/10.1017/s1752196317000360.
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AbstractThe Martin and Morris Music Studio (MMMS) imprint permeated the first fifty years of black gospel music. Jointly owned by singer/impresaria Sallie Martin (1895/6–1988) and composer/arranger/pianist/organist Kenneth Morris (1917–88), the MMMS delivered gospel songs to an eager public and offered ordinary Americans the chance to see their names in print as author or composer on the cover of a gospel octavo, copies of which could then be sold to benefit that same ordinary American. Their influence extended far beyond that service, however. Martin and her Singers performed and popularized music bearing the MMMS imprint in venues ranging from small churches in the Deep South to national conventions in Washington, D.C., and widened circulation of MMMS music via Los Angeles recording studios. The unprecedented accomplishments of the MMMS, active from 1940 to 1993, have not been fully explored. Relying on transcribed interviews of the owners by Bernice Johnson Reagon, James Standifer, and others, accounts in historical newspapers, and company archives, this article addresses that void. The centrality of the MMMS in twentieth-century gospel of all types is clarified through examination of contexts for black-owned music publishing in the last century, the owners’ early business models, and their changing roles in the creation, publication, popularization, and dissemination of gospel music for more than fifty years.
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Idris DM, Muhammad. "Desain Sistem, Job Order Costing." Bahtera Inovasi 2, no. 2 (November 18, 2019): 138–51. http://dx.doi.org/10.31629/bi.v2i2.1627.
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Management accounting is a financial information processing system that is used to produce financial information for the interests of the organization's internal users. As one type of information, management accounting is a type of quantitative information that uses money as a unit of measurement, which is used to assist management in implementing company management. Management accounting is financial information which is the output produced by the type of management accounting, which is used primarily by internal users of the organization. Process costing systems are used in companies that produce one type of product in large quantities in the long run. The basic principle of the costing process is accumulating costs from certain operations or departments during a full period (monthly, quarterly, and yearly) and then dividing by the number of units produced during that period. The Job Order Costing system is also widely used in service companies. Like hospitals, legal consultant offices, cinema studios, accountant offices, ad agencies, repair shops use a system of collecting fees with job order costs for accounting and billing purposes. The problem of recording and charging costs will be more complex when the company sells various kinds of products and services.
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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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Insani, Anugrah Prima, Indrayuda Indrayuda, and Susmiarti Susmiarti. "IDEALISME SYOFYANI TERHADAP GAYA TARI BERDAMPAK PADA POPULARITAS KESENIANNYA." Jurnal Sendratasik 9, no. 1 (February 10, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108024.
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AbstractThis article aims to reveal and explain Syofyani's idealism againsts dance style that has an impact on its popularity in the community. This type of research was qualitative with using descriptive method. The research instrument was the researcher as a key instrument, and it was assisted by both audio and visual recording devices. Location of the research was in Padang city. The informants were dance performers, choreographers and managers of studios and user communities. Data were collected by taking observation, interview, documentation study and literature study. Data analyses were done by referring to the Miles and Huberman technique, namely the stages of collecting, reducting, presenting, verificating and making conclusion of data. The results of the research show Syofyani's idealism regarding her style such as dance attitude, dance motions motive, motions rhythm, movement characters and expressions, distinguishing the dance styles created by Syofyani with dance works from other choreographers. Besides that, Syofyani's idea about her dance style is departing from the Minangkabau concept of women and men, as well as about Minangkabau customs towards the position of women and men who naturally changed. By looking at this distinctive dance style, Syofyani has become popular among the dance lovers community in West Sumatra.Keywords: Dance style, Syofyani, and popularity
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Glijer, P., E. N. Abarra, H. Kisker, and T. Suzuki. "MFM studies of recording phenomena in high density longitudinal recordings." IEEE Transactions on Magnetics 32, no. 5 (1996): 3557–62. http://dx.doi.org/10.1109/20.538689.
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Xavier, Gregory, Anselm Su Ting, and Norsiah Fauzan. "Quantifying Conventional Electroencephalogram Recordings and Examining its Output Computation with a Quantitative Electroencephalogram." Journal of Cognitive Sciences and Human Development 7, no. 2 (September 22, 2021): 108–20. http://dx.doi.org/10.33736/jcshd.3656.2021.
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Quantitative electroencephalogram enables mathematical analysis of neurological recordings while conventional electroencephalogram lacks the mathematical output; hence, its usage is limited to neurological experts. This study was to determine if quantified conventional electroencephalogram recordings were compatible and comparable with quantitative electroencephalogram recordings. A group of post-call doctors was recruited and subjected to an EEG recording using a conventional electroencephalogram followed by a quantitative electroencephalogram device. The patterns and quantified recording results were compared. A comparative analysis of the two recording sets did not find differences in the recording patterns and statistical analysis. The findings promoted the use of a readily available conventional electroencephalogram in quantitative brain wave studies and have cleared potential compatibility bias towards data merging.
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Herbst, Jan-Peter. "The formation of the West German power metal scene and the question of a ‘Teutonic’ sound." Metal Music Studies 5, no. 2 (June 1, 2019): 201–23. http://dx.doi.org/10.1386/mms.5.2.201_1.
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Despite being one of the oldest and largest metal nations, little research on metal music from Germany exists. This article focuses on the formation of the West German power metal scene. This subgenre was one of the first to be played in Germany, and bands such as Helloween, Running Wild, Gamma Ray and Blind Guardian produced a characteristic German sound that was to become famous worldwide. Based on interviews with music producers, musicians, journalists and academics, this study analyses stylistic musical features of (German) power metal, the artists’ influences and their different aspirations for international success. The findings suggest that a characteristic German power metal sound emerged in the 1980s and 1990s that might be called ‘Teutonic’. Germany was amongst the first countries to burst out countless successful power metal bands before the genre spread to other parts of the world. No standards existed in those days, and production resources were limited and individual. This restricted infrastructure – the unique characteristics of a few recording studios along with the small circle of professional musicians, engineers and producers – has shaped the classic German power metal sound. With standardization of production resources, new techniques and consequences of globalization such as internationally operating record labels, American culture in public media and increased English language skills, these national characteristics gradually diminished.