Journal articles on the topic 'Sound recording industry'
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1
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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Meyer, Stephen C. "Parsifal's Aura." 19th-Century Music 33, no. 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.
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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy works to easily recorded excerpts or arrangements. In this quasi-Adornian reading, early sound recordings of Parsifal manifest the inexorable power of the culture industry to undermine the authentic work of art. And yet sound recording can also be seen as the fruit of a different impulse, the impulse toward a fully transcendent work of art, the realization of the ““invisible theater”” for which Wagner himself supposedly yearned. Indeed, Parsifal (even more than Wagner's other works) was recorded primarily as a symphonic work, divested of what Adorno so tellingly called the ““phony hoopla”” of operatic production. Early sound recording of Parsifal thus amplifies the conflict between materialism and transcendence that forms the ideological substratum of the plot. This conflict manifests itself in the ““resistance”” that Parsifal offers up to the process of recording, a resistance that is ironically most audible precisely during the age in which the recordings themselves are most ““imperfect.”” It is in these traces of resistance, I will argue, that we may imagine the aura of Wagner's final work.
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Ovsiannikov, Viacheslav. "Principles of microphone sound recording in the context of the creative direction of sound recording." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 124–29. http://dx.doi.org/10.32461/2226-2180.39.2021.238705.
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The purpose of the article is to characterize the principles of sound recording with microphones in the context of the acoustic spatial features of concert halls, which are an important component in positioning the activities and creative directions of "purism", "individualism" and "realism" in sound engineering. The methodology consists of the use of analytical, historical, and cultural methods, which made it possible to identify and characterize the technological foundations of sound recording using the example of sound engineers. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science the principles of microphone sound recording in the context of acoustic spatial features and creative directions of sound engineering "purism", "individualism" and "realism" were defined and characterized. Conclusions. In the work, the data on the spectral response of the frequency range, the stereophonic effect, musical and timbre balance, and the spatial impression of the acoustics of concert halls were determined. The principles of application of multi-microphone technique in instrumental, orchestral, and rock music are revealed; outlined the creative potential of the directions "purism", "individualism" and "realism". in sound engineering. In terms of current cinematic trends and contemporary popular music culture, we hear and become accustomed to exaggeratedly colorful and rich, often "electronic" sound. Since the listener is the ultimate link in the entire recording industry, it is necessary to recognize landmarks in sound engineering aimed at the tastes of the majority.
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Szabó, Ferenc János. "Ernő Dohnányi: A Discography of the Performer." Studia Musicologica 63, no. 1-2 (December 9, 2022): 17–85. http://dx.doi.org/10.1556/6.2022.00003.
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AbstractThe performances of Ernő Dohnányi as pianist and conductor were preserved on numerous sound recordings. He was involved in the recording industry first in 1905, and his death was notoriously caused by a cold suffered in a recording studio in 1960. His interpretation is preserved on different audio media: piano rolls, 78rpm and Long Play discs, x-ray foils and reel-to-reel tapes. Although the number of his studio recordings, made for commercial purposes, is relatively small, the amount of live concert and home recordings, including the huge collection of unpublished recordings made in the USA between 1945 and 1960, expands it to a significant corpus of sound recordings. This article contains the complete discography of Ernő Dohnányi as a performer. The discography provides all available data of the studio and live recordings of Dohnányi, including the data of reissues (closing date: June 2022). It is preceded by an article in which Dohnányi's discography is analysed from several aspects. The analysis of the recorded repertoire sets the stage for further research on Dohnányi's interpretation; however, lost recordings are also reviewed. Dohnányi's controversial relationship to the technical media, and vice versa the recording firms changing interest in him as a performer, are also discussed in detail, involving several sources formerly unknown to Dohnányi research.
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Wood, Nicholas Stuart. "Protecting Creativity: Why Moral Rights Should be Extended to Sound Recordings under New Zealand Copyright Law." Victoria University of Wellington Law Review 32, no. 1 (March 5, 2001): 163. http://dx.doi.org/10.26686/vuwlr.v32i1.5899.
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Traditionally, moral rights have not extended to the creators of sound recordings under either common law or civil law systems. The somewhat outdated rationale of this exclusion of sound recordings from the ambit of moral rights protection was generally that sound recordings were merely mechanical reproductions of already existing musical works, and hence the recordings lacked sufficient creativity to make them worthy of moral rights protection. In 1996, the WIPO Performances and Phonograms Treaty sought to remedy this anomaly in copyright law by extending the moral rights of paternity and of integrity to performers whose performances are fixed in sound recordings.This paper argues that New Zealand should follow WIPO's lead and extend the moral rights provisions of the Copyright Act 1994 to sound recordings. The author argues that sound recordings are imbued with sufficient creativity to merit moral rights protection and that this protection should be granted not only to performers but to sound engineers and producers, who also contribute creatively to the recording. This paper examines how moral rights in relation to sound recordings might work in practice and what remedies should be available for breach of these rights. The author concludes that the extension of moral rights to sound recordings need not impact detrimentally on the music industry, as some commentators fear.
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Poletti, Mark. "Three-dimensional sound recording using directional beams." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A255. http://dx.doi.org/10.1121/10.0023453.
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The recording of three-dimensional spatial audio is typically carried out using microphone arrays that produce higher-order B-format responses, which are defined by spherical harmonics. Spherical harmonics provide a compact, orthonormal representation of the sound field, but can be intuitively challenging for general users because they do not have a direction, as opposed to typical microphones used in the audio industry. Furthermore, spherical microphone arrays typically use microphone angles based on Platonic solids which do not have intuitive directions such as front, rear, left, right, up, and down. This paper considers the use of sets of directional beams that have orthonormal properties in a similar manner to spherical harmonics. Sets of angles that have intuitive directions are used, and a method of approximating orthonormal beams is developed. The approach can also be applied to angles obtained from Platonic solids. Finally, a prototype microphone array that implements the directional recording format is described.
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Van Nort, Doug. "Multidimensional Scratching, Sound Shaping and Triple Point." Leonardo Music Journal 20 (December 2010): 17–18. http://dx.doi.org/10.1162/lmj_a_00005.
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The author discusses performance utilizing his greis software system, which is built around the principle of a “scrubbing” interaction with roots in the recording industry and the paradigm of scrubbing tape across a magnetic head.
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Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.
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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.
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Dauterive, Jessica, Matthew B. Karush, and Michael O’Malley. "Hearing the Americas: Understanding the Early Recording Industry with Digital Tools." Journal of the Gilded Age and Progressive Era 22, no. 4 (October 2023): 427–51. http://dx.doi.org/10.1017/s1537781423000178.
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AbstractThis article describes the methods and arguments of Hearing the Americas, a digital public history project that illuminates the history of popular music and the recording industry from 1890 to 1925. We argue that the use of digital tools allows the website to integrate sound directly into writing on music and thereby explicate a series of historical arguments. The article examines three arguments advanced by Hearing the Americas, showing in each case how digital tools generate new insights. The first case uses mapping to reveal some of the specific ways in which the economic and social context of Jim Crow shaped the experiences of Black performers; the second integrates sound and text to reveal the origins of certain blues conventions in the racist stereotypes of minstrel shows; and the final case uses digital tools to argue that the marketing strategies of the recording industry throughout the Americas helped produce a key shift in patterns of globalization.
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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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Vukmanović, Marinko. "DELICATE SOUND OF AI RESTORATION - ”THE LORD OF THE THINGS”." Social informatics journal 3, no. 1 (June 30, 2024): 51–54. http://dx.doi.org/10.58898/sij.v3i1.51-54.
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Re-defining important changes in the music and film restoration industry, exploring the possibility to: 1. Extract individually chosen sounds from the final movie track in order to re-balance (re-mix) its audio content. 2. Extract chosen sounds from the original audio recording and re-mix, with separated audio stems. The Results section starts by describing the process of creating a completely new mixdown made from AI-generated audio stems (previously extracted from the original mono recordings) joining it with restored original 16 mm video footage, resulting in a full eight-hour movie, separated into three episodes, each with a duration between two and three hours, covering about one week each, of the 21 days of studio time. The material was recorded during the filming of The Beatles’ “Get Back” sessions at Twickenham Studios, London, in January 1969, and chronicles the making of “Let It Be” and the band’s famed final “Rooftop Concert.” The second episode describes the audio/video production of the last-ever song by The Beatles (“Now and Then”) literally made from scratch, as the core of the project was only a poor-quality analog recording made by John Lennon, singing and playing piano to an old, mono, compact cassette recorder.
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VanCour, Shawn, and Kyle Barnett. "Eat what you hear: Gustasonic discourses and the material culture of commercial sound recording." Journal of Material Culture 22, no. 1 (January 10, 2017): 93–109. http://dx.doi.org/10.1177/1359183516679186.
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This article analyzes discursive linkages between acts of listening and eating within a combined multisensory regime that the authors label the gustasonic. Including both marketing discourses mobilized by the commercial music industry and representations of record consumption in popular media texts, gustasonic discourses have shaped forms and experiences of recorded sound culture from the gramophone era to the present. The authors examine three prominent modalities of gustasonic discourse: (1) discourses that position records as edible objects for physical ingestion; (2) discourses that preserve linkages between listening and eating but incorporate musical recordings into the packaging of other foodstuffs; and (3) discourses of gustasonic distinction that position the listener as someone with discriminating taste. While the gustasonic on one hand serves as an aid to consumerism, it can also cultivate a countervailing collecting impulse that resists music’s commodity status and inscribes sound recording within alternative systems of culture value.
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DeVincentis, Patrice. "The rise of sound girls: Expect, empower, energize, educate." Journal of Popular Music Education 6, no. 2 (July 1, 2022): 267–74. http://dx.doi.org/10.1386/jpme_00089_1.
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The fact that fields of music production and recording arts have been noticeably male-dominated has not gone unnoticed. Progress for women in these fields has been slow and difficult at best. Current statistics demonstrate that the change in gender percentages over the past decade has been insignificant. The lack of female professionals in the music and audio fields has been the subject of studies for over 40 years. Females interested in the audio industry have often faced with adversity and challenges. This article examines real-world experiences of females in the audio industry and considers what educators can do to foster greater gender equality.
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Fishzon, Anna. "The Operatics of Everyday Life, or, How Authenticity Was Defined in Late Imperial Russia." Slavic Review 70, no. 4 (2011): 795–818. http://dx.doi.org/10.5612/slavicreview.70.4.0795.
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In this article, Anna Fishzon explores how the phenomena of celebrity culture and early sound recording contributed to notions of audientic selfhood in late imperial Russia. Public discussions about celebrities like the Bol'shoi Theater bass Fedor Shaliapin helped forge understandings of sincerity and spoke to contemporary concerns regarding the relationship between fame and artifice, the public persona and the inner self. Fishzon suggests that the emergent recording industry penetrated and altered everyday emotional experience, the arena of work, and the organization of leisure, linking gramophonic discourses to celebrity culture and its rhetoric of authenticity and sincerity. In part because Russian audio magazines and gramophone manufacturers heavily promoted celebrity opera recordings, sonic fidelity was equated with the capacity of the recorded voice to convey “sincerity,” understood, in turn, as the announcement of ardent feelings. Fan letters to Shaliapin and Ivan Ershov document these new sensibilities regarding self, authenticity, desire, and emotions.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Yakoupov, A. N. "MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)." Arts education and science 1, no. 2 (2020): 53–61. http://dx.doi.org/10.36871/hon.202002006.
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In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.
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Răsvan, Cătălin. "Sound Banks – a Priceless Aid in Contemporary Music Writing." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 220–30. http://dx.doi.org/10.2478/ajm-2019-0012.
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Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.
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Williams, Christopher. "The Concrete ‘Sound Object’ and the Emergence of Acoustical Film and Radiophonic Art in the Modernist Avant-Garde." Transcultural Studies 13, no. 2 (February 1, 2017): 239–63. http://dx.doi.org/10.1163/23751606-01302008.
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Radiophonic art could not have emerged at the end of the 1920s without an intense period of experimentation across the creative fields of radio, new music, phonography, film, literature and theatre. The engagement with sound recording and broadcast technologies by artists radically expanded the scope of creative possibility within their respective practices, and more particularly, pointed to new forms of (inter-)artistic practice based in sound technologies including those of radio. This paper examines the convergence of industry, the development of technology, and creative practice that gave sound, previously understood as immaterial, a concrete objectification capable of responding to creative praxis, and so brought about the conditions that enabled a radiophonic art to materialize.
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Večerníková, Lucie, Filip Šír, and Tomáš Slavický. "Eduard Jedlička: Americký sen zlatníka z Moravy." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 40–49. http://dx.doi.org/10.37520/mmvp.2022.005.
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In the collections of the earliest phonograph cylinders held by American memory institutions, a remarkable set of recordings with Czech content can be found under the title of Jedlička Records, derived from the name of Eduard Jedlička (1867–1944), a Czech immigrant to the US. The authors of the study present for the first time the story of the Moravian native who left his homeland in 1895 to pursue his American dream. Jedlička Records represent a valuable example of Czech (mostly traditional folk) songs popular among the Czech minority in the early 20th century. They also represent a significant contribution to the sound cultural heritage of the Czech community in the US and to the history of the recording and distribution industry.
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Fulek, Ruwen, Selina Ramm, Christian Kiera, Miriam Pein-Hackelbusch, and Ulrich Odefey. "A Machine Learning Approach to Qualitatively Evaluate Different Granulation Phases by Acoustic Emissions." Pharmaceutics 15, no. 8 (August 17, 2023): 2153. http://dx.doi.org/10.3390/pharmaceutics15082153.
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Wet granulation is a frequent process in the pharmaceutical industry. As a starting point for numerous dosage forms, the quality of the granulation not only affects subsequent production steps but also impacts the quality of the final product. It is thus crucial and economical to monitor this operation thoroughly. Here, we report on identifying different phases of a granulation process using a machine learning approach. The phases reflect the water content which, in turn, influences the processability and quality of the granule mass. We used two kinds of microphones and an acceleration sensor to capture acoustic emissions and vibrations. We trained convolutional neural networks (CNNs) to classify the different phases using transformed sound recordings as the input. We achieved a classification accuracy of up to 90% using vibrational data and an accuracy of up to 97% using the audible microphone data. Our results indicate the suitability of using audible sound and machine learning to monitor pharmaceutical processes. Moreover, since recording acoustic emissions is contactless, it readily complies with legal regulations and presents Good Manufacturing Practices.
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Hedges, Michael. "‘Modulation’ by Richard Powers: Digital sound, compression and the short story." Short Fiction in Theory & Practice 11, no. 1-2 (June 1, 2021): 161–76. http://dx.doi.org/10.1386/fict_00042_1.
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This article presents a reading of ‘Modulation’ (2008) by Richard Powers. Firstly, I consider the short story’s representation of the MP3 music file, specifically its effects on how music is circulated and stored, as well as how it sounds. These changes are the result of different processes of compression. The MP3 format makes use of data compression to reduce the file size of a digital recording significantly. Such a loss of information devises new social and material relations between what remains of the original music, the recording industry from which MP3s emerged and the online markets into which they enter. I argue that ‘Modulation’ is a powerful evocation of a watershed moment in how we consume digital sound: what Jonathan Sterne has termed the rise of the MP3 as ‘cultural artifact’. I contend that the short story, like the MP3, is also a compressed manner of representation. I use narrative theory and short story criticism to substantiate this claim, before positioning ‘Modulation’ alongside Powers’s novels of information. I conclude by suggesting that ‘Modulation’ offers an alternative to representing information through an excess of data. This article reads Powers’s compressed prose as a formal iteration of the data compression the story narrates.
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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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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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SYMES, COLIN. "From Tomorrow’s Eve to High Fidelity: novel responses to the gramophone in twentieth century literature." Popular Music 24, no. 2 (May 2005): 193–206. http://dx.doi.org/10.1017/s0261143005000462.
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Music and literature have long-standing links. Music has drawn on literature, and vice versa. The advent of the phonograph transformed the condition of music in myriad ways. It made music more accessible and more portable. It also created a new industry of music makers: record producers and engineers, recording artists and record journalists. In this paper I examine the literary responses to the phonograph, and argue that novelists such as Jules Verne, Sinclair Lewis, Bram Stoker and Thomas Mann were among the first to respond to the phonograph, helping to demystify many of the fears that accompanied a machine that was able to preserve sound. I suggest that novelists and short stories, well in advance of phonographic historians and analysts, identified the ways in which records and recordings were incorporated into the day-to-day lives of individuals.
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Siriyuvasak, Ubonrat. "Commercialising the sound of the people: Pleng Luktoong and the Thai pop music industry." Popular Music 9, no. 1 (January 1990): 61–77. http://dx.doi.org/10.1017/s0261143000003731.
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Since Thailand's Copyright Act became law in 1979 an indigenous music industry has emerged. In the past, the small recording business was concentrated on two aspects: the sale of imported records and the manufacture of popular, mainly Lukkroong music, and classical records. However, the organisation of the Association of Music Traders – an immediate reaction to the enforcement of the Copyright law – coupled with the advent of cassette technology, has transformed the faltering gramophone trade. Today, middle-class youngsters appreciate Thai popular music in contrast to the previous generation who grew up with western pop and rock. Young people in the countryside have begun to acquire a taste for the same music as well as enjoy a wider range of Pleng Luktoong, the country music with which they identify. How did this change which has resulted in the creation of a new pleasure industry come about? And what are some of the consequences of this transformation.
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Bender, Helena. "Effectiveness of the eastern grey kangaroo foot thump for deterring conspecifics." Wildlife Research 32, no. 7 (2005): 649. http://dx.doi.org/10.1071/wr04091.
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Overabundant wild populations of herbivores often present challenges to primary industry, competing with stock, and damaging crops and property. Eastern grey kangaroos (Macropus giganteus) are one of seven macropodid species that are considered a problem in agriculture in Australia. Most deterrent devices available commercially use sounds that do not occur in nature (i.e. artificial sounds), which often have a short-lived or no effect on the target species, whereas trials with biologically significant sounds are often more effective and provide greater resistance to habituation. I used a playback trial of an eastern grey kangaroo foot thump, a biologically significant signal that is given in response to a predator and is usually followed by flight. I determined its effectiveness compared with a recording of background noise (control) for deterring kangaroos over a seven-week period. Kangaroos significantly increased their vigilance levels in response to the foot thump, but not in response to the control signal. Just over 60% of kangaroos took flight in response to the foot thump and the control signals, but more kangaroos took flight in the first 3 s when the foot thump was played. The foot thump shows potential as a deterrent of eastern grey kangaroos for primary industry, and is less likely to suffer from habituation because it is a natural sound.
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Jung, Dae-Hyun, Na Yeon Kim, Sang Ho Moon, Changho Jhin, Hak-Jin Kim, Jung-Seok Yang, Hyoung Seok Kim, Taek Sung Lee, Ju Young Lee, and Soo Hyun Park. "Deep Learning-Based Cattle Vocal Classification Model and Real-Time Livestock Monitoring System with Noise Filtering." Animals 11, no. 2 (February 1, 2021): 357. http://dx.doi.org/10.3390/ani11020357.
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The priority placed on animal welfare in the meat industry is increasing the importance of understanding livestock behavior. In this study, we developed a web-based monitoring and recording system based on artificial intelligence analysis for the classification of cattle sounds. The deep learning classification model of the system is a convolutional neural network (CNN) model that takes voice information converted to Mel-frequency cepstral coefficients (MFCCs) as input. The CNN model first achieved an accuracy of 91.38% in recognizing cattle sounds. Further, short-time Fourier transform-based noise filtering was applied to remove background noise, improving the classification model accuracy to 94.18%. Categorized cattle voices were then classified into four classes, and a total of 897 classification records were acquired for the classification model development. A final accuracy of 81.96% was obtained for the model. Our proposed web-based platform that provides information obtained from a total of 12 sound sensors provides cattle vocalization monitoring in real time, enabling farm owners to determine the status of their cattle.
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Brennan, Matt, and Kyle Devine. "The cost of music." Popular Music 39, no. 1 (February 2020): 43–65. http://dx.doi.org/10.1017/s0261143019000552.
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AbstractWhat is the cost of music in the so-called Anthropocene? We approach this question by focusing on the case of sound-recording formats. We consider the cost of recorded music through two overlapping lenses: economic cost, on the one hand, and environmental cost, on the other. The article begins by discussing how the price of records has changed from the late 19th to the 21st century and across the seven most economically significant playback formats: phonograph cylinder, gramophone disc, vinyl LP, cassette tape, compact disc, digital audio files on hard drive, and streaming from the cloud. Our case study territory is the United States, and we chart the gradual decline in the price of recorded music up to the present. We then examine the environmental and human costs of music by looking at what recordings are made out of, where those materials come from, and what happens to them when they are disposed of. Despite what rhetorics of digital dematerialisation tell us, we show that the labour conditions in the digital electronics and IT industries are as inhumane as ever, while the amount of greenhouse gases released by the US recording industry could actually be higher today than at the height of any previous format. We conclude by asking the obvious (but by no means straightforward) question: what are musicians and fans to do?
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Roy, Elodie A. "‘Total trash’. Recorded music and the logic of waste." Popular Music 39, no. 1 (February 2020): 88–107. http://dx.doi.org/10.1017/s0261143019000576.
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AbstractThis article introduces three situated moments – or plateaux – in order to partially uncover the particular affinities between popular music and the ‘logic of waste’ in the Anthropocene Era, from early phonography to the present digital realm (with a focus on the UK, United States, and British India). The article starts with a ‘partial inventory’ of the Anthropocene, outlining the heuristic values of waste studies for research in popular music. The first plateau retraces the more historical links between popular music and waste, showing how waste (and the positive discourses surrounding it) became a defining element of the discourse and practices of early phonography. It aims to show how recorded sound participated in (and helped define, in an emblematic manner) a rapidly expanding ‘throwaway culture’ at the turn of the 20th century. The second plateau presents a more global panorama of the recording industry through a focus on shellac (a core, reversible substance of the early recording industry). Finally, the third plateau presents some insights into the ways in which popular music may ‘play’ and incorporate residual materialities in the contemporary ‘digital age’. I argue that the logic of waste defined both the space and pace of the early record industry, and continued to inform musical consumption across the 20th century – notably when toxic, non-recyclable synthetic materials (especially polyvinyl) were introduced.
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Yu, Miao, Yutong He, and Qian Kong. "Research on Pattern Extraction Method of Underwater Acoustic Signal Based on Linear Array." Mathematical Problems in Engineering 2022 (April 15, 2022): 1–10. http://dx.doi.org/10.1155/2022/1819423.
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Underwater acoustic signal is an important reference data for marine information research. The research and application of underwater acoustic signal have been widely concerned and valued by countries and enterprises. With the needs of modern military development and the development of marine industry, the research and application of underwater acoustic signal will develop faster and faster. In order to better understand marine information, it is necessary to collect seawater acoustic signal data. Aiming at the purpose of recording underwater acoustic signals placed in the ocean for a long time, this study innovates the calibration and recording of large dynamic range of long-time underwater acoustic signals, improves the circuit setting methods such as receiving, amplification, and sampling, designs a large dynamic series of long-time underwater acoustic signal recording device, and adopts the linear array extraction method, so that it can monitor the underwater acoustic biological sound under the condition of low power. It can also monitor the blasting sound of offshore engineering. Hardware circuit design mainly includes main control chip selection, amplification circuit design, filter circuit design, analog-to-digital conversion circuit design, storage circuit design, and some auxiliary circuit design. The fourth chapter introduces the software development process of large dynamic range underwater acoustic signal recorder and mainly introduces the system development tool, system clock working method, real-time clock module working method, underwater acoustic signal acquisition method, data storage scheme design, and the use of FatFs file system. The underwater acoustic signal data is stored on a MicroSD in the form of TXT file; linear array extraction method is used for feature extraction. Compared to other methods, the transformer will suppress DC and low-frequency interference signals, thus achieving high-pass filtering characteristics. Finally, the performance and experimental results of the whole underwater acoustic signal recording device are analyzed. After testing, the underwater acoustic signal recording device designed in this paper works stably and can record underwater acoustic signals with large dynamic range for a long time in low-power mode.
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O’Grady, Pat. "The Master of Mystery." Journal of Popular Music Studies 31, no. 2 (June 2019): 147–64. http://dx.doi.org/10.1525/jpms.2019.312012.
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Over the past twenty years, the field of popular music studies has significantly enhanced our understanding of pop music production. Studies have drawn from a range of industry discussions to explore, for example, the ways in which emergent technologies have led to distinctive production techniques and the important role that recording technologies play in shaping the sound of pop music. Whereas many industry discussions have provided productive sites of analysis, they can also obstruct research in some respects. This article focuses on an area of music production where such industrial discussions tend to hinder, rather than enhance, an understanding of its practices. It examines the ways in which industry discussions position the process of mastering as “mysterious.” This article argues representations of mastering as “mysterious” work to reinforce the importance of this practice and also safeguard it from new technologies that might challenge its dominance. These representations can function to reproduce and secure social hierarchies within the field.
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Porcello, Thomas. "The ethics of digital audio-sampling: engineers' discourse." Popular Music 10, no. 1 (January 1991): 69–84. http://dx.doi.org/10.1017/s0261143000004323.
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Over the course of the past several years the use of digital audio-sampling by composers, musicians, engineers and producers has increased to a point where the sampler is now as common in the recording studio as the microphone. Digital samplers allow one to encode a fragment of sound, from one to several seconds in duration, in a digitised binary form which can then be stored in computer memory. This stored sound may be played back through a keyboard, with its pitch and tonal qualities accurately reproduced or, as is often the case, manipulated through electronic editing. Because of its unsurpassed mimetic capabilities, one common use of the sampler has been to store in computer memory a note or set of notes played by an individual who has a unique playing style. When played back through a keyboard, one could construct an entire solo line which would potentially sound as if that person were playing it. Another common use of the sampler is to extract a fragment of sound from one context and place it in a new one, with no appreciable loss of sound quality over each generation of extraction and repositioning. These three capabilities of the sampler – the mimetic/reproductive, the manipulative and the extractive – are crucial to understanding both the sampler's popularity and its potential to disrupt the production process in the music industry.
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Qureshi, Regula Burckhardt. "His Master's Voice? Exploring Qawwali and ‘Gramophone Culture’ in South Asia." Popular Music 18, no. 1 (January 1999): 63–98. http://dx.doi.org/10.1017/s0261143000008734.
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‘No modern communications medium is more intrusive in modern Indian life than recorded and electronically amplified sound’ (Babb 1995, p. 10). In South Asia, even the most exclusive student of unmediated music-making cannot avoid a mediated public soundscape that may well transmit the music being studied over loudspeakers, radios, televisions, and cassette players. This is certainly the case for qawwali, a musical genre which is firmly embedded in Sufi practice, but is also widely recorded and media-disseminated for as long as the life of the Indian record industry itself. Acknowledging this musical reality after years of live study has prompted me first to situate the study of recorded qawwali vis-à-vis my own scholarly conventions and vis-à-vis the pioneering work on sound recording done in the very region of my own study. The aim is to address the problematic of an ethnographic approach to recorded qawwali, and to present preliminary findings, including some culturally meaningful examples from the repertoire.
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Keightley, Keir. "Long Play: Adult-Oriented Popular Music and the Temporal Logics of the Post-War Sound Recording Industry in the USA." Media, Culture & Society 26, no. 3 (May 2004): 375–91. http://dx.doi.org/10.1177/0163443704042258.
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Hepokoski, James. "“Listen and Be Amazed!”: Odeon, Künneke, and the First Recordings of Complete Symphonies." Journal of the American Musicological Society 76, no. 1 (2023): 113–67. http://dx.doi.org/10.1525/jams.2023.76.1.113.
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Abstract Between 1911 and 1913, Odeon records, in Berlin, produced and made available for sale five complete, four-movement symphonies, the first complete symphonies ever recorded. They were Beethoven’s Fifth and Sixth Symphonies (August and November–December 1911), and then Haydn’s Symphony no. 94 (“Surprise”) and Mozart’s Symphonies nos. 40 and 39 (in that order, March and April 1913). Each was performed by members of the Odeon company’s orchestra, billed as the “Großes Odeon-Streich-Orchester.” While no conductor is identified on the labels, it was surely Eduard Künneke, Odeon’s house conductor at that time. (Arthur Nikisch’s Beethoven’s Fifth with the Berlin Philharmonic would follow, from Grammophon records, in November 1913.) Odeon’s decisions to record these five symphonies took place within two larger corporate contexts, 1907–13: first, that of what was becoming increasingly possible within the enabling yet constraining affordances of the era’s music-recording industry; second, that of how those affordances were giving rise to the more innovative plans and economic gambles of recording extended classical works—longer stretches of operetta and opera, high-prestige orchestral music, and, eventually, symphonies. Much of this history can be traced in reports, reviews, and advertisements in the contemporaneous German trade journal the Phonographische Zeitschrift. The whole is framed here within the contexts of recent media theory and varying views of the impact of sound recordings on twentieth- and twenty-first-century listening practices. As Antoine Hennion put it, “The disc has been powerful enough to introduce modern listeners to musical repertoires conceived with a different relationship in mind.”
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Gibson, Will, Peter Callery, Malcolm Campbell, Andy Hall, and Dave Richards. "The Digital Revolution in Qualitative Research: Working with Digital Audio Data through Atlas. Ti." Sociological Research Online 10, no. 1 (June 2005): 57–68. http://dx.doi.org/10.5153/sro.1044.
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Modern versions of Computer Assisted Qualitative Data Analysis Software (CAQDAS) are enabling the analysis of audio sound files instead of relying solely on text-based analysis. Along with other developments in computer technologies such as the proliferation of digital recording devices and the potential for using streamed media in online academic publication, this innovation is increasing the possibilities of systematically using media-rich, naturalistic data in place of transcribed ‘de-naturalised’ forms. This paper reports on a project assessing online learning materials that used Atlas.ti software to analyse sound files, and it describes the problems faced in gathering, analysing and using this data for report writing. It concludes that there are still serious barriers to the full and effective integration of audio data into qualitative research: the absence of ‘industry standard’ recording technology, the underdevelopment of audio interfaces in Atlas.ti (as a key CAQDAS package), and the conventional approach to data use in many online publication formats all place serious restrictions on the integrated use of this data. Nonetheless, it is argued here that there are clear benefits in pushing for resolutions to these problems as the use of this naturalistic data through digital formats may help qualitative researchers to overcome some long-standing methodological issues: in particular, the ability to overcome the reliance on data transcription rather than ‘natural’ data, and the possibility of implementing research reports that facilitate a more transparent use of ‘reusable’ data, are both real possibilities when using these digital technologies, which could substantially change the shape of qualitative research practice.
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Webb, Jen. "Cleaning up the Grunge." Media International Australia 90, no. 1 (February 1999): 157–65. http://dx.doi.org/10.1177/1329878x9909000115.
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In 1996, Triple J's ‘Unearthed’ competition awarded the Central Queensland prize to Andalusion, a grunge band of four young high school students. Since winning this award, the band has been transformed from a group of musical amateur-enthusiasts to a semi-professional band with an industry manager, recording contracts, video and CD recordings, steady (paid) gigs in public venues and a clear career trajectory. The band's music is also changing from semi-heavy grunge, deeply inflected by teenage angst, to a more reflective and developed sound. In other words, it seems that they have been relocated from the private sphere to a position as one of the providers of public culture. This paper focuses on the conditions under which, and the institutional arrangements through which, relatively marginalised subjects can become legitimated as agents of the cultural industries and creators of authorised cultural products. By drawing on discussions with the band members and a reading of their audio and visual work, and through theoretical perspectives offered by Pierre Bourdieu, it investigates the logic of creative production and its agents, and identifies the capital necessary to enter the field. The paper also discusses the extent to which artists operating within the cultural industries are necessarily products of its discourses.
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Цветковская, Т. А. "Leopold Stokowski’s “Sound-Scores”." OPERA MUSICOLOGICA, no. 2022 (May 11, 2022): 82–100. http://dx.doi.org/10.26156/om.2022.14.2.003.
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Статья посвящена анализу художественных и технических экспериментов Леопольда Стоковского. Понятие «звуковая партитура» (sound-score), использованное американским дирижером, по мнению автора статьи, подразумевает синтез живущих в сознании композитора, исполнителя и слушателя слуховых образов произведения. В то время как обычная партитура фиксирует авторский замысел в рамках закрепившихся в музыкальной практике обозначений, звуковая партитура отражает философски обусловленную структуру, охватывающую множество актуальных форм произведения как объекта художественного воплощения. Интерпретация творчества Стоковского в контексте реализации звуковой партитуры развенчивает многие стереотипы относительно склонности дирижера к эпатажу. На наш взгляд, подоплеку его смелого новаторства стоит искать в симфонических транскрипциях, аранжировках и оригинальных оркестровках Стоковского, отражающих своеобразие слуховых представлений дирижера. Изучение авторских приемов позволяет глубже понять его индивидуальность, ключевыми характеристиками которой являются свобода самовыражения, акцент на эстетике звука, непрерывная коммуникация с артистами оркестра. Ценные сведения также дает реконструкция деталей гастрольной поездки Стоковского по Советскому Союзу в 1958 году. Развитие звукозаписи и появление новых медиа послужило импульсом к поиску средств, способных более точно выразить слуховой образ и усилить слуховое переживание. Мастерски используя возможности сохранения звука, его воспроизведения, передачи на большое расстояние, Стоковский не только выступил пионером отрасли, но полностью подчинил технологию художественным задачам, создав в сфере звука самостоятельное, самоценное музыкальное произведение. The article analyzes technical and artistic experiments of the American conductor Leopold Stokowski. According to the author, the term “sound-score”, which Stokowski used in the context of musical themes, implies synthesis of the auditory images of a composition emerging in the minds of the composer, the performer, and the listener. The performer’s task is to embody his or her own auditory image, connected with the auditory image of the composer through a musical score, and at the same time to pronounce interpretative features, creating a general auditory experience. Acoustic techniques, timbre solutions, and visual effects are eventually aimed at creating an image close to his or her own in the minds of the public. A network of connections between the auditory images of all participants in a musical act through auditory experiences reflects the continuous formation of a musical composition in its sound essence. Attempts to capture auditory images in a textual form are observed in symphonic transcriptions, arrangements and original orchestrations of Stokowski. The analysis of the conductor’s techniques allows us to better understand his personality, the key characteristics of which are freedom of self-expression, emphasis on the aesthetics of sound, constant communication with the orchestra musicians, bright staginess of his performing manner. The ability to trace the dynamics of the formation of Stokowski’s auditory images complements his creative portrait. Important information is provided by the reconstruction of the details of his Soviet Union tour in 1958. Development of sound recording and formation of new media was an impetus for a further search for means that could more accurately express the auditory image and enhance the auditory impression. Skillfully using the possibilities of maintaining, reproducing, and transmitting sound over a distance, Stokowski not only became a pioneer of the industry, but completely subordinated the technology to creative tasks, “creating in sound” a valuable and independent musical work.
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Kiene, Tony. "From the Early Days of Rock and Roll to the Minneapolis Sound and Beyond: Pepé Willie Talks About His Life in the Business." Spectrum: A Journal on Black Men 10, no. 2 (March 2023): 127–44. http://dx.doi.org/10.2979/spe.2023.a903158.
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ABSTRACT: Pepé Willie’s start in the music industry came during the early 1960s as a teenage valet for Rock and Roll Hall of Fame inductees Little Anthony and The Imperials (founded by his Uncle Clarence Collins). By way of his marriage to Prince’s first cousin Shauntel Manderville, Pepé relocated to Minneapolis in December of 1974, where he began tutoring a 16-year-old Prince Rogers Nelson and his band Grand Central, which also included the likes of André Cymone and Morris Day. Pepé was the first person to ever take Prince into a professional recording studio with his band 94 East. In addition to Prince, André, and Morris, Pepé helped to guide the early careers of Twin Cities music legends such as Dez Dickerson, Cynthia Johnson, Sue Ann Carwell, members of The Revolution, members of The Time, and many more.
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Sher, Alina Andreevna, and Rimma Aleksandrovna Timofeeva. "The works of Alex Steinweiss: design of the music album cover as a new trend in graphic design." Культура и искусство, no. 4 (April 2021): 104–15. http://dx.doi.org/10.7256/2454-0625.2021.4.35373.
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This article is discusses the works of the graphic designer Alex Steinweiss (1917 – 2011), who was involved in music industry of the United States. The author examines the causes and effects of the emergence of a new trend in graphic design, associated with the design of music album covers, as well as analyzed some of the covers invented by Steinweiss in the 1940s. A brief overview is given to the evolution of sound recording media and their packaging. The subject of this research is the art of Alex Steinweiss, while the object is the envelopes for LP vinyl records, invented by the designer during his work for the Columbia Record Label (1930s – 1940s). The relevance of this article is substantiate by the new wave of interest in vinyl records, and thus graphic design in the context of music industry, as well as by the demand to prepare specialists for working in modern music industry. The novelty lies in examination of causal link of the emergence of new trend graphic design on inventing music album covers. The conducted research indicates the influence of a number of socioeconomic factors and activity of Alex Steinweiss upon the emergence of a new trend in graphic design. The author concludes on the relevance of studying the creative path of Alex Steinweiss for the students and representatives of art professions.
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Höhler, Julia, and Rainer Kühl. "What strategies do dairy companies realize? Using content analysis to examine strategies in the German dairy market." International Food and Agribusiness Management Review 22, no. 5 (September 11, 2019): 635–50. http://dx.doi.org/10.22434/ifamr2019.0008.
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A realized strategy can be understood as the sum of a company’s observable strategic actions over time. This concept of strategy is difficult to grasp empirically. However, the content analysis enables a systematic, dynamic and theoretically sound recording of realized strategies. To demonstrate the potential of the method in capturing strategies we encode 4,158 pieces of information about strategic actions of ten European dairy companies in the German market for over 11 years. Based on this we suggest a mixed methods approach to learn more about the individual companies’ competitive moves and their realized strategies. The companies investigated differ in their adaptation to changing environmental conditions and in particular in their brand policy. The trend ‘animal welfare’ shows that most dairy companies reacted late and left the initiative to the retail trade. Our approach can be applied to many questions in strategy research and promises new insights into the strategies of companies in the food industry.
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Morgan, Frances. "Pioneer Spirits: New media representations of women in electronic music history." Organised Sound 22, no. 2 (July 12, 2017): 238–49. http://dx.doi.org/10.1017/s1355771817000140.
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The Alternative Histories of Electronic Music conference in 2016 reflected a rise in research that explores new and alternative directions in electronic music historiography. Accordingly, attention has been focused on practitioners previously either ignored or thought to be marginal; a significant number of these figures are women. This fact has caught the attention of print and online media and the independent recording industry and, as a result, historical narratives of female electronic musicians have become part of the modern music media discourse. While this has many positive aspects, some media representations of the female electronic musician raise concerns for feminist scholars of electronic music history. Following the work of Tara Rodgers, Sally MacArthur and others, I consider some new media representations of electronic music’s female ‘pioneers’, situate them in relation to both feminist musicology and media studies, and propose readings from digital humanities that might be used to examine and critique them. This article expands on a talk given at AHEM and was first conceived as a presentation for the Fawcett Society event Sound Synthesis and the Female Musician, in 2014.
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Radovinović, Željka. "The Czech Republic and Croatia: Cooperation on the Early Production of Recorded Sound." Fontes Artis Musicae 71, no. 1 (January 2024): 28–52. http://dx.doi.org/10.1353/fam.2024.a922725.
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English Abstract: The ties between Croats and Czechs, based on common Slavic roots, can be traced back to the distant past. From the eighteenth century, especially while belonging to the same state, the Austro-Hungarian Empire, Czechs immigrated in large numbers to the territory of today's Croatia. First came farmers in search of free land to cultivate, and later craftsmen, entrepreneurs, intellectuals, and artists arrived. The subject of cooperation between Croatians and Czechs in the sound recording industry can be traced from the paper labels on recordings, which reveal that many Czech records were produced in Zagreb, while many Croatian records were produced in Ústí nad Labem and Prague in what is today the Czech Republic. On the Croatian side, there is some literature on the first years of recorded sound in Croatia, as well as articles in periodicals from the period and scarce archival sources. As a participant in a scientific project on the Croatian industry of gramophone records (the record industry in Croatia from 1927 to the end of the 1950s), I conducted comprehensive research in Prague to trace the bilateral links between Croatian Edison Bell Penkala (EBP) and Elektroton and Czech gramophone companies (Esta, Ultraphon, etc.); on companies that recorded Croatian artists before EBP; and on the cooperation between Czech Gramofonové závody and Jugoton at the beginning of their existence. Colleagues provided insight into the available literature, documentation, and results of their research for the project Novy Fonograf ( Novy Fonograf : nasluchejme zvuku historie. For information on the project, see: https://novyfonograf.cz/en/about/). Additional information was also found from the Zagreb company Croatia Records (formerly Jugoton) and the Archive of Yugoslavia in Belgrade. In this article, I will explain the flow of cooperation between the two countries on the production of shellac gramophone recordings in the time of world wars and turbulent political changes. French Abstract: Les liens entre Croates et Tchèques, fondés sur des racines slaves communes, peuvent être retracés depuis un passé lointain. Dès le XVIIIe siècle, surtout lorsqu'ils appartenaient au même État, l'Empire austro-hongrois, les Tchèques ont immigré en grand nombre sur le territoire de l'actuelle Croatie. Les premiers arrivants furent des agriculteurs à la recherche de terres libres à cultiver, et plus tard des artisans, des entrepreneurs, des intellectuels et des artistes. La coopération entre Croates et Tchèques dans l'industrie de l'enregistrement sonore peut être retracée à partir des étiquettes papier des enregistrements, qui révèlent que de nombreux disques tchèques ont été produits à Zagreb, tandis que de nombreux disques croates ont été produits à Ústí nad Labem et à Prague, dans ce qui est aujourd'hui la République tchèque. Côté croate, il existe un peu de littérature sur les premières années de l'enregistrement sonore en Croatie, ainsi que des articles dans des périodiques de l'époque et de maigres sources d'archives. En tant que participant à un projet scientifique sur l'industrie croate des disques gramophones (l'industrie du disque en Croatie de 1927 à la fin des années 1950), j'ai mené des recherches approfondies à Prague pour retracer les liens bilatéraux entre les sociétés croates Edison Bell Penkala (EBP) et Elektroton et les sociétés tchèques de gramophones (Esta, Ultraphon, etc.) ; sur les sociétés qui ont enregistré des artistes croates avant EBP ; et sur la coopération entre les sociétés tchèques Gramofonové závody et Jugoton au début de leur existence. German Abstract: Die auf gemeinsamen slawischen Wurzeln beruhenden Verbindungen zwischen Kroaten und Tschechen lassen sich bis in die ferne Vergangenheit zurückverfolgen. Seit dem 18. Jahrhundert wanderten Tschechen in großer Zahl in das Gebiet des heutigen Kroatien ein, insbesondere solange sowohl Tschechien als auch Kroatien Teil der Österreichisch-Ungarischen Monarchie waren. Zunächst kamen Bauern auf der Suche nach freiem Land zum Bewirtschaften, später dann Handwerker, Unternehmer, Intellektuelle und Künstler. Das Thema der Zusammenarbeit zwischen Kroaten und Tschechen in der Tonträgerindustrie lässt sich anhand der Labels auf Tonträgern nachvollziehen; aus ihnen geht hervor, dass viele tschechische Schallplatten in Zagreb produziert wurden, während viele kroatische Schallplatten in Ústí nad Labem und Prag, also in der heutigen tschechischen Republik, hergestellt wurden. Auf kroatischer Seite gibt es einige Literatur über die ersten Jahre der Tonaufzeichnung in Kroatien sowie zeitgenössische Zeitschriftenartikel und seltene Archivquellen. Als Teilnehmerin eines wissenschaftlichen Projekts über die kroatische Schallplattenindustrie – mit dem Thema 'Die Schallplattenindustrie in Kroatien von 1927 bis zum Ende der 1950er Jahre' – führte ich in Prag umfassende Recherchen durch, um die bilateralen Verbindungen zwischen der kroatischen Edison Bell Penkala (EBP) und Elektroton einerseits und den tschechischen Grammophonunternehmen (Esta, Ultraphon usw.) andererseits zu untersuchen. Meine Forschung widmete sich außerdem Unternehmen, die vor EBP Aufnahmen kroatischer Künstler gemacht haben, sowie der Zusammenarbeit zwischen der tschechischen Gramofonové závody und Jugoton zu Beginn ihrer Existenz. Kollegen haben mir Literatur, Dokumente und Forschungsergebnisse zum Projekt Novy Fonograf zur Verfügung gestellt. (Novy Fonograf: nasluchejme zvuku historie. – Informationen zum Projekt finden Sie unter: https://novyfonograf.cz/en/about/). Zusätzliche Informationen wurden auch bei der Zagreber Firma Croatia Records (ehemals Jugoton) und dem Archiv Jugoslawiens in Belgrad gefunden. Im Beitrag wird der Ablauf der Zusammenarbeit zwischen den beiden Ländern bei der Herstellung von Schellackplattenaufnahmen zur Zeit der Weltkriege und turbulenter politischer Veränderungen erläutert.
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., Ermayani, Haryono ., and Yuli Utanto. "Exclusivity of Animation Industry Education Curriculum Raden Umar Said Vocational School Kudus." International Journal of Research and Review 9, no. 12 (December 8, 2022): 36–52. http://dx.doi.org/10.52403/ijrr.20221205.
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This research was conducted based on observations of Raden Umar Said Vocational High School (SMK), which was originally a suburban Vocational School turned into an international standard superior school with a level of progress in the animation industry education curriculum in the applied learning process. The purpose of this study was to analyze the learning process in the implementation of the animation industry education curriculum at Raden Umar Said Kudus Vocational School. This type of research uses descriptive qualitative methods with a phenomenological approach to reveal more deeply the phenomenon of the industrial education curriculum and the learning process as curriculum implementation at Raden Umar Said Kudus Vocational School. Data collection techniques are carried out by means of observation, interviews, and documentation. The source of this research data is primary data obtained from interviews with the Principal, Deputy Head of Curriculum, teachers, and students at SMK Raden Umar Said Kudus. Research data validity techniques using method triangulation and theory triangulation. The results of the study can be concluded that the learning process uses a teaching factory based on project based learning (PjBL) and PBL which develops the entrepreneurial spirit of its graduates. Students find conceptual understanding after going through the practical process in the studio. Fun studio and learning space by combining general and productive material (thematic learning) with the essential curriculum. Learning is supported by complete and sophisticated facilities from the animation room, recording room, sound editing, color grading room, mini theater. Teaching factory learning uses job sheets, block schedules, there are products and markets with assessments in the form of final assignments and work exhibitions. Industrial learning with a block learning system with learning target achievements determines the duration of learning time. Curriculum development carried out at RUS began with: 1) integrated/ synchronous curriculum alignment with industry; 2) essential curriculum (non-productive curriculum that supports major material); and 3) one competency material in the major concerned. Keywords: Curriculum, Curriculum Development, Animation Industry Education.
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Hernandez, Fredyl B. "Musings on the Engagement of the Neophyte with the Established Archive." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 5 (June 30, 2020): 9–16. http://dx.doi.org/10.30819/aemr.5-2.
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Music Production of De La Salle – College of Saint Benilde is a program first of its kind in the Philippines. Oriented to trail-blaze for 21st century Filipino musicians, the Music Production program is to be found not in a conservatory, but in a School of Design and Arts. As such, the program ensures responsiveness to the needs of the Creative Industries. With the government’s Long-term Development Plan, wherein culture and the arts are seen as key social and economic capitals, something is to look forward for people who innately possess a certain degree of musicality whether in traditional, folk, popular, indie or in other formats. The program, to a certain extent, makes its own contribution in realizing this governmental thrust. Situated in an amalgamation of cultural expressions as a result of historical determinations, sound and music culture in the Philippines feature a fusion of genres which also naturally results to distinct forms in the fusion and weaving processes. Recognizing this rich context, the program offers a wide variety of training to its students, and sensitive to the needs of the industry, outputs are always made relevant to the demands of the market and the society at large. The capstone projects of the students as well as their other outputs from immersions and on-the-job trainings are in need of safeguarding and proper documentation. In the program’s over two decades of existence, there is no good reason to wait for these outputs to become archaic in the future, acquiring the status of becoming objects or pieces of curiosities. The archival initiative is premised on the idea that these productivities entail a wealth of contemporary musical expressions nurtured in an emerging field of formal learning and mentoring. Offhand, there is a felt necessity of tracing the development of works. At the same time, as prompted by trends, the question to be asked now: What direction must the program take in order to be truly responsive to the industry as well as to actively engage in cultivating contemporary practices of music in the Philippines and in the world? Lastly, the archive is also a soundscape. Akin to the recording of varied sounds simultaneously present in an environment, the archive becomes an instrument of digitizing culture and pedagogy – of recording thought and learning processes of young people as well as educational approaches and methodologies in the part of the program. The initiative seeks to explore the charting of pedagogical outputs – its domiciliation and consignation, and processes involved in its retrieval and dissemination.
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Palmer, William K. G. "Confirming Tonality at Residences Influenced by Wind Turbines." Journal of Energy Conservation 1, no. 3 (May 18, 2020): 13–44. http://dx.doi.org/10.14302/issn.2642-3146.jec-20-3359.
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For 5 years, since the start-up of an array of 140 wind turbines, residents have filed complaints with the Ontario Ministry of the Environment (the regulator), and K2 Wind (the operator). Residents complained that the turbines produce a tonal sound, and that the irritation this produced impacted their sleep, their health, and the enjoyment of their property. To confirm tonality from the wind turbines, this research examined over 200 data examples from two families. These families collected data by two independent methods, a continuously recording system, and by making selected audio recordings. The recorded data was correlated with the wind turbine operational performance, and local weather conditions. The correlated data was analyzed for tonality using international standard evaluation methods. The analysis confirmed over 84% correlation between complaints of irritating conditions, and tonality from 5 dB to over 20 dB. The research also identified deviation between the recommended method for assessing wind turbine tonality of an expert group panel for the industry and the method for compliance monitoring now prescribed by regulations. The deviation can incorrectly reduce tonality calculated to significantly below the actual tonality. Finally, the results showed that the assumption of the regulator to only require assessment of compliance when the resident was downwind of the nearest wind turbine was incorrect. Most complaints arose from other wind directions. Neither was the regulator’s assumption correct that curtailing the wind turbine operation to continue operating at only partially reduced outputs would give remediation. The research concludes that tonality arises consistent with the wind turbine operation, identifying a critical need to revise the practices to prevent chronic irritation.
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Kharkevych, Y. I. "THE USE OF THE SPECIAL KNOWLEDGE IS DURING INVESTIGATION OF THE CRIMINAL OFFENCES RELATED TO THE STATE FINANCING OF INDUSTRY OF HEALTH PROTECTION IN THE CONDITIONS OF PANDEMIC." Herald of criminal justice, no. 3-4 (2022): 233–43. http://dx.doi.org/10.17721/2413-5372.2022.3-4/233-243.
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The scientific article is devoted to the study of special knowledge, both its characteristics in general and the specifics of its use during the investigation of offenses related to public funding of the health care industry in the context of the Pandemic. Forms of the use of special knowledge, their classification at different times of the development of forensic science, in particular, the appointment of forensic examinations, are identified; reference and consulting activities; audits and other inspection reports; account verification; the involvement of a specialist in conducting procedural actions; interrogation of an expert; the presence of the investigator during the examination. Emphasis is placed on the importance of interdepartmental checks, interaction of law enforcement agencies with state financial control bodies. Based on the scientific points of view of scientists, an attempt was made to provide proposals for avoiding individual conflicts in the legislation regarding the assignment of audit and inventory to investigators. Attention is drawn to the use of monitoring, financial audit, procurement review and procurement monitoring. Also, certain aspects of the consultative form of using special knowledge and the participation of a specialist during some procedural actions under the specified category of criminal proceedings are disclosed. Forensic examinations are singled out, which are mainly appointed during the investigation of criminal offenses related to state funding of the health care industry in the context of a pandemic, including: economic, handwriting, technical examination of documents, computer and technical, telecommunications, commodity studies, video and sound recording, forensic, etc. All mentioned achievements are confirmed by statistical data and practical examples.
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MONTEROLA, CHRISTOPHER, CHERYL ABUNDO, JERIC TUGAFF, and LORCEL ERICKA VENTURINA. "PREDICTION OF POTENTIAL HIT SONG AND MUSICAL GENRE USING ARTIFICIAL NEURAL NETWORKS." International Journal of Modern Physics C 20, no. 11 (November 2009): 1697–718. http://dx.doi.org/10.1142/s0129183109014680.
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Accurately quantifying the goodness of music based on the seemingly subjective taste of the public is a multi-million industry. Recording companies can make sound decisions on which songs or artists to prioritize if accurate forecasting is achieved. We extract 56 single-valued musical features (e.g. pitch and tempo) from 380 Original Pilipino Music (OPM) songs (190 are hit songs) released from 2004 to 2006. Based on an effect size criterion which measures a variable's discriminating power, the 20 highest ranked features are fed to a classifier tasked to predict hit songs. We show that regardless of musical genre, a trained feed-forward neural network (NN) can predict potential hit songs with an average accuracy of Φ NN = 81%. The accuracy is about +20% higher than those of standard classifiers such as linear discriminant analysis (LDA, Φ LDA = 61%) and classification and regression trees (CART, Φ CART = 57%). Both LDA and CART are above the proportional chance criterion (PCC, Φ PCC = 50%) but are slightly below the suggested acceptable classifier requirement of 1.25*Φ PCC = 63%. Utilizing a similar procedure, we demonstrate that different genres (ballad, alternative rock or rock) of OPM songs can be automatically classified with near perfect accuracy using LDA or NN but only around 77% using CART.
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Martinelli, Francesco. "Establishing Italian Jazz on the International Scene 1960-1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 136–57. http://dx.doi.org/10.5450/ejm.2017.16.5785.
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This paper sheds new light on the developments in Italian jazz in the two decades 1960-1980. It opens by touching on context and antecedents: the relationships with Italian musical traditions in early American jazz, the acceptance and refusal of jazz by Italian cultural institutions and movements before 1960, and the late '50s key developments both in jazz and arts/media. In the early '60s, Italian jazz was characterized by two small scenes with marked differences in Rome and Milan and with a few further relevant events. An active and well rooted specialist magazine (Musica Jazz) provides relatively good documentation on these beginnings, quite detached from other general movements in music. By the end of the decade several ideological, cultural, political ruptures will have changed this panorama, and while Italian jazz was active in these changes, its exponents also had to deal with the complex situation they created from the point of view of artistic challenges, working conditions, and relationships with the recording industry. In order to discuss these changes and the different strategies adopted by musicians, four case studies will be examined to gain a better understanding of the process. Nunzio Rotondo, while almost unknown outside of Italy, was one of the first Italian musicians to successfully perform internationally after the war. He subsequently worked within the Rome jazz scene, with limited exposure both live and on record. Giorgio Gaslini's ground-breaking work of the late 50s, his training in ‘classical' music, and his unflagging commitment to exploration made him a personality similar to Portal and Gulda. However, his artistic successes did not close the chasm between ‘serious' music and jazz in Italy. Enrico Rava took the opposite road to Rotondo, widely performing abroad and paying dues in Buenos Aires, New York, and Paris before gaining acceptance worldwide and in his own country. He has been instrumental in the creation of an international image of Italian jazz and even of an Italian sound, opening the doors to many others. Perigeo was a ‘jazz-rock' group of the early 70s. Their recordings are still extremely popular. The reaction to their music by the jazz establishment and then their curt dismissal by the industry led to their disbanding, after which the single members—Franco D'Andrea, Claudio Fasoli, Giovanni Tommaso—produced and still produce some of the most exciting Italian jazz.
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Sholanke, A. B., O. N. E. Ekhaese, M. O. Faleti, and K. C. Ukaigwe. "Users' Perception of Comfort Experienced in Academic Buildings of Selected Universities in Ogun State, Nigeria." IOP Conference Series: Earth and Environmental Science 1054, no. 1 (September 1, 2022): 012026. http://dx.doi.org/10.1088/1755-1315/1054/1/012026.
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Abstract In architectural design, the level of comfort experienced in the spaces created serve as one of the units of measurement in assessing a complete design. In a country tropical climate such as Nigeria, indoor environmental conditions are primarily influenced by many factors, including lighting, ventilation, indoor air quality, sound quality and building materials employed. This study investigated users’ comfort satisfaction level in relation to environmental design consideration factors in academic buildings of selected universities in Ota, Ogun State, Nigeria, with a view to identify areas for improvement towards making contributions that will help to improve users’ satisfaction in the development of academic environments. The study adopted a quantitative research method that used a structured questionnaire to collect data from 291 respondents, out of which 271 are students and 19 are lecturers. The users’ sample size was drawn from the Department of Architecture students and lecturers of two selected universities in the study area. The data were analyzed with the aid of Statistical Product and Service Solutions software and presented descriptively with the aid of tables. The results showed that majority of the respondents in the selected universities attested to the adequacy of the four environmental design consideration factors investigated, with the factors recording various levels of adequacies. In few areas were the factors were inadequate, the foremost reason was the inadequacy of the indoor air quality, followed by that of lighting before ventilation. Also, daylighting in classrooms and ventilation in offices was found to be inadequate in one of the universities, while the inadequacy of ventilation in offices in the other university was significantly high. The study recommended that building industry designers should pay more attended to means of achieving adequate indoor air quality, lighting and ventilation in academic buildings, without compromising achieving adequacy of sound quality found to be generally satisfactory. The study has implications for policy formulation, designs and researches that strive towards meeting users’ comfort satisfaction level in the development of academic environments.