Littérature scientifique sur le sujet « Music Production Studio »
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Sommaire
Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Music Production Studio ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Articles de revues sur le sujet "Music Production Studio"
Slater, Mark. « Locating Project Studios and Studio Projects ». Journal of the Royal Musical Association 141, no 1 (2016) : 167–202. http://dx.doi.org/10.1080/02690403.2016.1151241.
Texte intégralKearney, Daithí, et Adèle Commins. « Studio Trad : Facilitating traditional music experiences for music production students ». Journal of Music, Technology & ; Education 11, no 3 (1 décembre 2018) : 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
Texte intégralRohman, Taufiqur, Evi Malia et Achamd Baihaki. « Analisis Potensi Penerimaan Pajak Penghasilan Atas Konten Youtube ». Jurnal Penelitian Teori & ; Terapan Akuntansi (PETA) 8, no 1 (31 janvier 2023) : 115–35. http://dx.doi.org/10.51289/peta.v8i1.642.
Texte intégralKamalova, Y. B. « COMPUTER SYSTEM FOR HOME MUSIC STUDIO ». SOFT MEASUREMENTS AND COMPUTING 6/1, no 55 (2022) : 54–65. http://dx.doi.org/10.36871/2618-9976.2022.06.006.
Texte intégralOctavfernando, Andero Jeremy, Dodot Sapto Adi et Saudah Saudah. « Proses Komunikasi Kreatif Produser Electronic Dance Music dalam Produksi Lagu (Studi Pada Komunitas Produser EDM Lingkup Pengguna Fruity Loops Studio) ». Indonesian Social Science Review 1, no 2 (1 septembre 2023) : 61–74. http://dx.doi.org/10.61105/issr.v1i2.49.
Texte intégralPramuditya, Puput, et Arya Putra Hananta. « Proses Produksi Musik pada Lagu Tyok Satrio di Studio DS Records ». Journal of Music Science, Technology, and Industry 6, no 1 (30 avril 2023) : 79–96. http://dx.doi.org/10.31091/jomsti.v6i1.2420.
Texte intégralFebrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto et Akhmad Alimudin. « Music Scoring for Film Using Fruity Loops Studio ». E3S Web of Conferences 188 (2020) : 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.
Texte intégralChagas, Paulo C. « Composition in circular sound space : Migration 12-channel electronic music (1995–97) ». Organised Sound 13, no 3 (3 novembre 2008) : 189–98. http://dx.doi.org/10.1017/s1355771808000289.
Texte intégralYulia Pratiwi, Dina, et Erfan Erfan. « PELAKSANAAN PELATIHAN BINA VOKALIA DI PURWA CARAKA MUSIC STUDIO PADANG ». Jurnal Sendratasik 10, no 2 (5 décembre 2020) : 134. http://dx.doi.org/10.24036/jsu.v9i2.111168.
Texte intégralWalzer, Daniel. « Transient soundscape production ». SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no 1 (15 janvier 2021) : 142–57. http://dx.doi.org/10.7146/se.v10i1.124203.
Texte intégralThèses sur le sujet "Music Production Studio"
Thompson, Robin L. « The production of gospel music : An ethnographic study of studio-recorded music in Bellville, Cape Town ». University of the Western Cape, 2015. http://hdl.handle.net/11394/4858.
Texte intégralThis thesis explores the production of music with musicians, singers and music producers who adhere to and promote Pentecostalist Christianity. The music they produce is a recently emerged genre, which I call 'Pentecospel'. I have coined this term to refer to a contemporary form of religiously inspired popular music, which is performed by young musicians belonging to various Pentecostal churches in Cape Town. I argue that 'Pentecospel' music is an emergent social form of self-representation, which is framed around Pentecostalism and the sound of Cape Town, as identified by Martin (2013). Young musicians and singers in Cape Town are absorbing and appropriating global styles of music, concepts and beliefs and music making techniques within their own musical compositions and transform their music performances in a way that enhances their local popularity. Thus, I elaborate on the processes of production through technical and social interpretations. This thesis will explore how performance, engaging audiences, the social interaction between people and technology, and the creation of their own unique sound on their musical instruments are linked to visual approaches located in the anthropology. This thesis is based on ethnographic fieldwork which took place mostly between December 2014 and February 2015. During this period, I worked with music producers and young people who have recorded at the 'Sounds of the Nations Africa: Cape Town' recording studio in Bellville, Cape Town, sharing their experiences of everyday life in and outside the studio. My three month long fieldwork included in-depth interviews, conversations and discussions, photographic and video material, and activity field notes. I made use of these methods in order to record my observations in the recording studio, during rehearsals and in public performances focusing on the social and musical interaction with the performing artists I got to know, through participant observation. I include my own participation as a musician and audience member with the use of these methods, in recording music in the 'Sounds of the Nations' recording studio for their upcoming album "Sound of Africa" and in public performances.
Wilmering, Thomas. « Applications of Semantic Web technologies in music production ». Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9078.
Texte intégralPolk, Darrel Maurice. « Home Studio Owners' Strategies to Compete in the Recording Industry ». ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6856.
Texte intégralLaube, Jacob M. « Understanding artist development : How do producers support the development of artists through the production process ? » Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107899/2/Jacob_Laube_Thesis.pdf.
Texte intégralWatson, Allan. « Sound practice : a relational economic geography of music production in and beyond the recording studio ». Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.
Texte intégralAnthony, Brendan. « ‘The Stairways to Mixing Heaven’ : Designs for the Optimisation of Creative Mixing Practices in Popular Music Record Production ». Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367706.
Texte intégralThesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
Full Text
Pinto, Waldir de Amorim 1971. « O estúdio não é o fundo de quintal = convergências na produção musical em meio às dicotomias do movimento do pagode nas décadas de 1980 e 1990 = The recording studio is not the backyard : convergences in the record production amid the dichotomies of the pagode movement in the 1980s and 1990s ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284481.
Texte intégralTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T03:50:36Z (GMT). No. of bitstreams: 2 Pinto_WaldirdeAmorim_D.pdf: 1276240 bytes, checksum: 8a86b876e4f1a39e8d680c931ea6e7b2 (MD5) Pinto_WaldirDeAmorim_Anexo.zip: 100462299 bytes, checksum: d1dd90b2bae3cd94ad8bcc39bca911d8 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos
Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator
Doutorado
Fundamentos Teoricos
Doutor em Música
Huschner, Roland. « „[…] if it would be me producing the song…“ ». Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17606.
Texte intégralThis dissertation attempts to adequately represent and explain the complex field-specific processes which take place in the recording studios of popular music production during the creation of configurations of sound. Using participant observation in Berlin-based recording studios for data collection, this data was analyzed by utilizing and modifying the works of Pierre Bourdieu and Michel Foucault. In contrast to Bourdieu’s claims that fields have an identical structure, the field of popular music production is quite unique in its workings and cannot be explained in such a manner. Based on these findings, a partially different model and terminology is being developed. Most of the used data is available as (German) transcription in the appendix.
Roberts, Rebecka. « Inspelningsteknik och inspelningsmiljö : hur spelar man in Bluegrass ? » Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1946.
Texte intégralEn inspelning från varje tillfälle medföljer, totalt tre inspelningar.
Den första är låten "Ill Fly Away" från utomhusinspelningen.
Den andra låten är "Man of Constant Sorrow" från studioinspelningen.
Den tredje låten är "Will the Circle Be Unbroken" från livekonserten.
Videodokumentären och musikvideos från respektive tillfälle finns på www.rebeckaroberts.com
Nikolausson, Levi. « Plugins : hjälp eller stjälp ? : en undersökande studie ». Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73956.
Texte intégralLivres sur le sujet "Music Production Studio"
Menasché, Emile. The desktop studio : A guide to computer-based audio production. Milwaukee, WI : Hal Leonard, 2002.
Trouver le texte intégralLemmy, dir. Motörhead in the studio. London : John Blake, 2010.
Trouver le texte intégralAlec, Nisbett, dir. The sound studio. 5e éd. Oxford : Focal Press, 1993.
Trouver le texte intégralBrown, Jake. Kanye West in the studio : Beats down ! money up ! (2000-2006). Phoenix : Colossus Books, 2006.
Trouver le texte intégralMusic in video production. White Plains, N.Y : Knowledge Industry Publications, 1991.
Trouver le texte intégralNovati, Maria Maddalena, et Marina Vaccarini. Marino Zuccheri & Friends. Milan] : Die Schachtel, 2018.
Trouver le texte intégralCousins, Mark. Logic Pro 9 : Audio and music production. Boston : Focal Press, 2010.
Trouver le texte intégralRuss, Hepworth-Sawyer, dir. Logic Pro 9 : Audio and music production. Boston : Focal Press, 2010.
Trouver le texte intégralCousins, Mark. Logic Pro 8 : Audio and music production. Amsterdam : Focal, 2008.
Trouver le texte intégralMusic in film and video productions. Boston : Focal Press, 1991.
Trouver le texte intégralChapitres de livres sur le sujet "Music Production Studio"
Weekhout, Hans. « In the Studio ». Dans Music Production, 7–12. Third edition. | New York, NY : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-3.
Texte intégralTanev, George, et Adrijan Božinovski. « Virtual Studio Technology inside Music Production ». Dans ICT Innovations 2013, 231–41. Heidelberg : Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-01466-1_22.
Texte intégralKnotts, Shelly, et Nick Collins. « AI-Lectronica : Music AI in Clubs and Studio Production ». Dans Handbook of Artificial Intelligence for Music, 849–71. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_30.
Texte intégralBarkati, Karim, et Francis Rousseaux. « How to Understand Digital Studio Outputs : The Case of Digital Music Production ». Dans IFIP Advances in Information and Communication Technology, 151–69. Berlin, Heidelberg : Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-54897-0_9.
Texte intégralBrett, Thomas. « Popular Music Production in Laptop Studios ». Dans Producing Music, 179–93. New York, NY : Routledge, 2019. | Series : Perspectives on music production series : Routledge, 2019. http://dx.doi.org/10.4324/9781315212241-11.
Texte intégralShelvock, Matthew T. « Case Studies in CBMP ». Dans Cloud-Based Music Production, 149–56. New York : Routledge, 2020. | Series : Perspectives on music production : Focal Press, 2020. http://dx.doi.org/10.4324/9781351137102-6.
Texte intégralScotto, Ciro. « The Studio's Function in Creating Distortion Related Compositional Structures in Hard Rock and Heavy Metal ». Dans Distortion in Music Production, 201–15. London : Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-17.
Texte intégralChow, Yiu Fai, Jeroen de Kloet et Leonie Schmidt. « Documenting the Past, Sustaining the Present, Making the Future ». Dans Contemporary East Asian Visual Cultures, Societies and Politics, 1–34. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_1.
Texte intégralNasta, Dominique. « Musical Moments as Narrative and Emotional Catalysts in Three Silent Films by Jacques Feyder ». Dans When Music Takes Over in Film, 57–74. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_4.
Texte intégralChow, Yiu Fai, Jeroen de Kloet et Leonie Schmidt. « 1 + 1 = ? » Dans Contemporary East Asian Visual Cultures, Societies and Politics, 165–95. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_6.
Texte intégralActes de conférences sur le sujet "Music Production Studio"
Āboliņa, Daira. « Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics ». Dans International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.
Texte intégralChronopoulou, Anna. « Music in the service of the directorial vision : The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis) ». Dans 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
Texte intégralEtinger, Darko. « A Task-Technology Fit Model for Digital Audio Workstations Evaluation ». Dans Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.
Texte intégralJiang, Jiang. « Application of String Music Source in Musical Instrument Digital Interface Production ». Dans Proceedings of the 3rd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2019). Paris, France : Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.102.
Texte intégralGarcia, Marcos da Rosa, Gutenberg Lima Marques, Matheus Barros et Juciane Araldi Beltrame. « Production of digital content in music teacher education : a study about podcast’s possibilities ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19448.
Texte intégralArthur, Reginald, Olivia Anku Tsede, Mohammed-Aminu Sanda, Eleonora Belfiore et Thilde Langevang. « Conceptualizing the Influence of Digital Musicpreneurs on the Music Streaming Ecosystem in the Global South : An Actor-Network Perspective ». Dans AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004302.
Texte intégralZhao, Yan. « The Status Quo and Development Strategy of "Computer Music Production" Course in Ordinary Normal Colleges and Universities ». Dans Proceedings of the 2nd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.179.
Texte intégralMonnazzi, João, et Regis Faria. « Body Building Music : The Kinase Instalation ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.
Texte intégralCHIRCEV, Elena. « Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.
Texte intégralWu, Yue, Anran Qiu, Liuxuan Ruan, Xuejie Li, Jinhao Huang et Stephen Jia Wang. « DJaytopia : a hybrid intelligent DJ co-remixing system ». Dans 5th International Conference on Human Systems Engineering and Design : Future Trends and Applications (IHSED 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004114.
Texte intégralRapports d'organisations sur le sujet "Music Production Studio"
Lefevre, Bruno, et Philippe Bouquillion. Communications, media and internet concentration in France, 2019-2021. Global Media and Internet Concentration Project, Carleton University, 2024. http://dx.doi.org/10.22215/gmicp/2024.2.
Texte intégralChaitoo, Ramesh. The Entertainment Sector in CARICOM : Key challenges and Proposals for Action. Inter-American Development Bank, avril 2013. http://dx.doi.org/10.18235/0009113.
Texte intégralMcIntyre, Phillip, Susan Kerrigan et Marion McCutcheon. Australian Cultural and Creative Activity : A Population and Hotspot Analysis : Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.
Texte intégral