Articoli di riviste sul tema "Music Production Studio"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Music Production Studio.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Music Production Studio".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
Slater, Mark. "Locating Project Studios and Studio Projects". Journal of the Royal Musical Association 141, n. 1 (2016): 167–202. http://dx.doi.org/10.1080/02690403.2016.1151241.
Testo completoAbstract (sommario):
ABSTRACTVia a longitudinal case study of a studio project (Middlewood Sessions, 2004–12), this research explores processes of music-making in the increasingly prevalent context of the project studio to give an insight into contemporary music-making practices. Predicated upon technologies of decreasing size but increasing processing power, project studios represent a diversification of musical creativity in terms of the persons and locations of music production. Increasingly mobile technologies lead to increasingly mobile practices of music production, which presents a challenge to the seemingly simple question: where is the project studio? In response, I propose an ontology of project-studio music-making that sets out what conditions have to be met for location, as an active proposition, to take place.
2
Kearney, Daithí, e Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students". Journal of Music, Technology & Education 11, n. 3 (1 dicembre 2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
Testo completoAbstract (sommario):
Many music production programmes in higher education institutions are heavily invested in popular music genres and production values in contrast to the diversity of musics often included in other music programmes and encountered in everyday life. Commenting on his 2017 album, Ed Sheeran highlights the potential for incorporating Irish traditional music into popular music. Over the past number of years, creative practice research projects at Dundalk Institute of Technology have provided opportunities for music production students to engage in the recording and production of Irish traditional music, broadening their experience beyond popular music genres and facilitating time for them to work collaboratively with Irish traditional musicians. Thus, an authentic and action-oriented mode of engagement in higher education is utilized to enhance the learning experience continuously aware of changes and attitudes in the music industry. This article focuses on three Summer Undergraduate Research Projects that provided students with the opportunity to research and record Irish traditional music during the summer months. The project not only provided the students with credible industry-like experience, it also provided the staff involved with an insight into the potential of collaborative project work to address multiple learning aims and objectives. In this article, a critical review of the projects is informed by feedback from the students involved, which can inform future development and structures of existing programmes in music production education.
3
Rohman, Taufiqur, Evi Malia e Achamd Baihaki. "Analisis Potensi Penerimaan Pajak Penghasilan Atas Konten Youtube". Jurnal Penelitian Teori & Terapan Akuntansi (PETA) 8, n. 1 (31 gennaio 2023): 115–35. http://dx.doi.org/10.51289/peta.v8i1.642.
Testo completoAbstract (sommario):
Penelitian ini bertujuan untuk mengetahui potensi pajak atas konten youtube, dalam hal ini peneliti mengambil akun youtube yang ada di pamekasan yaitu kendedes music production. Metode penelititan kualitatif pendekatan deskriptif. Hasil peneliitian yang dilakukan oleh peneliti adalah bahwasanya akun kendedes music production memiliki konten music, ceramah agama, wedding dan live stremming, dan memiliki potensi pajak PPh 21 dan PPh 23 dalam potensi pajak PPh 21 Konten memiliki potensi pajak yang dikategorikan PPh 21 dimana hal ini potensi pajaknya terletak pada cameramen, penyanyi, sebagai bukan pegawai, dan pemilik akun youtube kendedes music production (andi) dan merangkap sebagai editor video sebagai wajib pajak orang pribadi bukan pegawai, cameramen dan penyanyi yang terlibat dalam pembutan konte youtube berpotensi membayar pajak atas jasa yang di berikan, dan pemilik akun youtube kendedes music production juga berpotensi membayar pajak atas penghasilan yang di dapat, Jasa Studio Music memiliki potensi pajak yang dikategorikan PPh 23 dimana hal ini potensi pajaknya terletak pada pemilik akun youtube kendedes music production (andi), dimana andi pemilik akun youtube kendedes music production berpotensi membayar pajak atas jasa sewa studio musiknya.
Penelitian ini bertujuan untuk mengetahui potensi pajak atas konten youtube, dalam hal ini peneliti mengambil akun youtube yang ada di pamekasan yaitu kendedes music production. Metode penelititan kualitatif pendekatan deskriptif. Hasil peneliitian yang dilakukan oleh peneliti adalah bahwasanya akun kendedes music production memiliki konten music, ceramah agama, wedding dan live stremming, dan memiliki potensi pajak PPh 21 dan PPh 23 dalam potensi pajak PPh 21 Konten memiliki potensi pajak yang dikategorikan PPh 21 dimana hal ini potensi pajaknya terletak pada cameramen, penyanyi, sebagai bukan pegawai, dan pemilik akun youtube kendedes music production (andi) dan merangkap sebagai editor video sebagai wajib pajak orang pribadi bukan pegawai, cameramen dan penyanyi yang terlibat dalam pembutan konte youtube berpotensi membayar pajak atas jasa yang di berikan, dan pemilik akun youtube kendedes music production juga berpotensi membayar pajak atas penghasilan yang di dapat, Jasa Studio Music memiliki potensi pajak yang dikategorikan PPh 23 dimana hal ini potensi pajaknya terletak pada pemilik akun youtube kendedes music production (andi), dimana andi pemilik akun youtube kendedes music production berpotensi membayar pajak atas jasa sewa studio musiknya.
4
Kamalova, Y. B. "COMPUTER SYSTEM FOR HOME MUSIC STUDIO". SOFT MEASUREMENTS AND COMPUTING 6/1, n. 55 (2022): 54–65. http://dx.doi.org/10.36871/2618-9976.2022.06.006.
Testo completoAbstract (sommario):
A comparative analysis and selection according to the best characteristics of the components of the system for a home music studio is carried out. Silent cooling systems for individual components of factory production are considered under budget constraints.
5
Octavfernando, Andero Jeremy, Dodot Sapto Adi e 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, n. 2 (1 settembre 2023): 61–74. http://dx.doi.org/10.61105/issr.v1i2.49.
Testo completoAbstract (sommario):
Electronic Dance Music or what is often heard as EDM, is dance music produced by an EDM producer using digital sounds via a computer. With the EDM phenomenon, the profession as an EDM producer among young Indonesians is getting more and more interested. The purpose of this study was to identify and understand the creative communication process of electronic dance music producers in music production. The research method used is descriptive research method with a qualitative approach. Data collection through semi-structured interviews and documentation. This research was conducted on 5 EDM producers with certain qualifications spread across Jakarta, Malang, and Yogyakarta. The result of this research is the finding of creative communication processes that occur in EDM producers in the production process of a song can not be separated from the references and intuition of an EDM producer himself. There needs to be references and intuition as a basis or tool in the production process through the creative communication process. In this study, references and intuition are managed using intrapersonal communication, creative communication, and innovation communication in order to achieve the goals of an EDM producer in the music production process.
Electronic Dance Music atau yang kerap kali didengar dengan sebutan EDM, adalah alunan musik dansa yang diproduksi oleh seorang produser EDM menggunakan suara-suara digital melalui komputer. Profesi sebagai produser EDM dikalangan anak muda Indonesia semakin banyak peminatnya. Tujuan penelitian ini adalah untuk mengetahui dan memahami proses komunikasi kreatif produser electronic dance music dalam produksi lagu. Metode penelitian yang digunakan adalah metode penelitian deskriptif dengan pendekatan kualitatif. Pengumpulan data melalui wawancara semiterstruktur dan dokumentasi. Penelitian ini dilakukan kepada 5 produser EDM dengan kualifikasi tertentu yang tersebar di Jakarta, Malang, dan Yogyakarta. Hasil dari penelitian ini adalah ditemukannya proses komunikasi kreatif yang terjadi pada produser EDM dalam proses produksi sebuah lagu tidak terlepas dari adanya referensi dan intuisi dari seorang produser EDM itu sendiri. Perlu adanya referensi dan intuisi sebagai landasan atau alat bantu dalam proses produksi melalui proses komunikasi kreatif. Dalam penelitian ini, referensi dan intuisi dikelola menggunakan komunikasi intrapersonal, komunikasi kreatif, dan komunikasi inovasi agar tercapainya tujuan dari seorang produser EDM dalam proses produksi lagu.
6
Pramuditya, Puput, e Arya Putra Hananta. "Proses Produksi Musik pada Lagu Tyok Satrio di Studio DS Records". Journal of Music Science, Technology, and Industry 6, n. 1 (30 aprile 2023): 79–96. http://dx.doi.org/10.31091/jomsti.v6i1.2420.
Testo completoAbstract (sommario):
Purpose: The purpose of this research is to identify and describe the music production process for Tyok Satrio's songs which were performed independently at Studio DS Records by Danurseto Bramana Adhi. Various stages from writing songs to making musical accompaniment are integrated into one unified music production process. According to Sawyer and Golding, music production has 3 (three) general stages, namely: (1) Pre-production which contains all musical concept planning as an efficiency of the recording process; (2) Production, namely the recording process in music production which involves all musicians; (3) Post Production is the last phase which contains the process of editing, balancing, mixing-mastering to present songs ready to be heard. Method: This study uses qualitative methods to discover and understand the various phenomena encountered to then be analyzed carefully. Data collection techniques were carried out by observation, interviews, and documentation. Results and discussion: The results and discussion show that the music production process carried out by Danurseto is carried out using the Sawyer and Golding methods with all departmental roles integrated with each other by the same person. Implication: the music production process for the song Tyok Satrio, which was carried out by Danurseto as producer, A&R, songwriter, arranger, instrumentalist, and sound engineer, can simultaneously achieve work efficiency by way of work mechanisms that are mutually integrated at each stage.
7
Febrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto e 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.
Testo completoAbstract (sommario):
Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.
8
Chagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)". Organised Sound 13, n. 3 (3 novembre 2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.
Testo completoAbstract (sommario):
AbstractHow does production and spatial environment shape the aesthetics of electroacoustic music? Can the physical space, technology and network of relationships associated with studio activities environment be deeply embedded in the actual composition itself? Using my 12-channel electronic piece Migration as an example, this article demonstrates how the ‘materiality’ of the former Studio für Elektronische Musik of the WDR Radio, Cologne, Germany influenced the conception of ‘circular sound space’. Space in electroacoustic music is considered as embodiment of gestural experience driven by performance and composition. The discussion gives insights into the development of circular approaches of sound space in relationship to analogue and digital machinery. Particular attention is paid to the correlation between sound synthesis and sound space as a structuring principle of multi-channel electroacoustic music composition.
9
Yulia Pratiwi, Dina, e Erfan Erfan. "PELAKSANAAN PELATIHAN BINA VOKALIA DI PURWA CARAKA MUSIC STUDIO PADANG". Jurnal Sendratasik 10, n. 2 (5 dicembre 2020): 134. http://dx.doi.org/10.24036/jsu.v9i2.111168.
Testo completoAbstract (sommario):
This research is motivated by the existence of a vocal instructor, who does not have a musical education background, at Purwa Caraka Music Studio Padang. However, he is able to bring his students to get achievement at national level. This study aims to determine and describe the implementation of vocal training at Purwa Caraka Music Studio Padang. The aspects explored in this study are: 1) The program of vocal training at Purwa Caraka Music Studio Padang, 2) The implementation of vocal training at Purwa Caraka Music Studio Padang, 3) Obstacles to the implementation of vocal training at Purwa Caraka Music Studio Padang.This research useda descriptive analytic method. The data were collected through observation, interviews, documentation, and literature study. The results show that the implementation of vocal training at Purwa Caraka Music Studio Padang is based on the curriculum and handbooks. The methods used in vocal training are lectures, individual approachesand exercises, as well as voice production exercises which include: posture and diaphragmatic breathing, articulation techniques, intonation techniques, resonance techniques, and phrasering techniques. The obstacles in the implementation of the vocal training at Purwa Caraka Music Studio Padang are: 1) Mood of the students; 2) tone and tempo blind of the students.Keywords: Implementation, BinaVokalia, Purwa Caraka
10
Walzer, Daniel. "Transient soundscape production". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, n. 1 (15 gennaio 2021): 142–57. http://dx.doi.org/10.7146/se.v10i1.124203.
Testo completoAbstract (sommario):
Over the past decade, there has been a steady increase of scholarly output examining the multidisciplinary, creative, and theoretical aspects of sound and music production in the recording studio and beyond (Zagorski-Thomas & Bourbon, 2020; Bennett & Bates, 2019; Hepworth- Sawyer, Hodgson, & Marrington, 2019; Thompson, 2019; Zagorski-Thomas, 2014; Frith & Zagorski-Thomas, 2012). Accordingly, a broad range of literature examines sound as a widespread cultural phenomenon (Papenburg & Schulze, 2016) and an essential source for pedagogical and ethnographic modeling in music technology education (Bell, 2018). Advances in technology make the “studio,” long viewed as a site of artistic and commercial production, available to a broader group of composers, musicians, and artists. Similarly, portable digital recorders afford sound artists and fi eld recordists an expansive range of choices to conduct soundscape research and creative practice. What emerges is a hybrid “composer- producer” identity and a studio’s function in the artistic process. This growth is the rise of an independent and transient practice in soundscape production among multidisciplinary composers and musicians. This article advocates for an updated notion of soundscape composition that integrates fi eld recordings, studio production, and collaboration from musicians representing a broad range of stylistic infl uences. Positioning the studio as a site of cultural production and creativity has implications for how soundscape production is taught to young composers. The author argues for a more inclusive, process-oriented view on both creativity and the places where musicians, composers, and producers work. The article includes a case study from the author’s recent album project, narrative analysis, concluding with a discussion on the pedagogical implications of independent soundscape production in education.
11
BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films". Journal of the Society for American Music 12, n. 2 (5 aprile 2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.
Testo completoAbstract (sommario):
AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.
12
KHAMIDOVA, MARFUA. "AT THE ORIGINS OF THE UZBEK MUSIC THEATER (STUDIOS, TEACHERS, FIRST EXPERIMENTS: 1920-1930S)". Культурный код, n. 2021-2 (2021): 32–45. http://dx.doi.org/10.36945/2658-3852-2021-2-32-45.
Testo completoAbstract (sommario):
This article is about the origins of the national opera that was born in Uzbekistan in the first half of the twentieth century. It also tells about the studio training of production and performing personnel for the national music scene within the framework of the Moscow, Baku studios, the Uzbek Opera Studio at the Moscow State Conservatory; about the first experiments of staging musical plays in the Uyghur Drama Troupe, the Concert and Ethnographic Troupe of M. Kari-Yakubov and further in the State Uzbek Musical Theater.
13
Hendra, Yos, e Ganesh Hariamansyah. "Brainwave Stimulation: Konsep Binaural Beats dalam Produksi Musik Digital (Brainwave Stimulation: The Concept of Binaural Beats in Digital Music Production)". Musica: Journal of Music 1, n. 2 (22 novembre 2021): 74. http://dx.doi.org/10.26887/musica.v1i2.2097.
Testo completoAbstract (sommario):
Brainwave Stimulation merupakan karya musik digital yang berangkat dari objek material klasifikasi frekuensi gelombang otak manusia yang dikenal dengan nama Brainwave. Frekuensi Brainwave tersebut diolah dengan konsep Binaural Beats audio. Konsep Binaural Beats digunakan sebagai media replikasi bunyi dari klasifikasi frekuensi Brainwave. Karya ini menghadirkan bunyi dari beberapa klasifikasi Brainwave yang terdiri dari frekuensi dalam range Alpha, Betha, Theta, dan Delta serta dipadukan dengan musik yang konsep penciptaannya diambil dari idiom musik minimalis dalam bentuk free form. Penggarapan karya dilakukan sepenuhnya dengan menggunakan software DAW Presonus Studio One 5 dan berbagai VSTi serta samplepack tanpa menggunakan record audio terhadap instrumen musik, dan sumber suara lainnya. Masalah dalam penggarapan karya ini adalah bagaimana cara memproduksi musik digital dengan konsep Binaural Beats. Artikel karya Brainwave Stimulation ini bertujuan untuk mengurai langkah kerja yang digunakan dalam produksi musik digital dengan menggunakan konsep Binaural Beats. Metode yang digunakan dalam penggarapan karya adalah eksplorasi, eksperimen, dan perwujudan. Hasil dari artikel ini merupakan sebuah karya seni musik digital dengan judul Brainwave Stimulation.Kata Kunci: Brainwave Stimulation; Binaural Beats; Musik DigitalABSTRACTBrainwave Stimulation is a digital musical work that departs from the object of classifying the frequency of human brain waves known as Brainwave. Brainwave frequencies are processed with the concept of Binaural Beats audio. The concept of Binaural Beats is used as a medium for sound replication from Brainwave frequency classification. This work presents sounds from several Brainwave classifications consisting of frequencies in the Alpha, Betha, Theta, and Delta ranges and is combined with music whose concept of creation is taken from minimalist music idioms in free form. The work is done entirely using the DAW Presonus Studio One five software and various VSTi and sample packs without audio recordings of musical instruments and other sound sources. The problem in working on this work is how to produce digital music with the concept of Binaural Beats. This article by Brainwave Stimulation aims to describe the work steps used in digital music production using the concept of Binaural Beats. The methods used in the production of the work are exploration, experimentation, and embodiment. The result of this article is a digital music artwork with the title Brainwave Stimulation.Keywords: Brainwave Stimulation; Binaural Beats; Digital Music
14
Bennett, Samantha. "Behind the magical mystery door: history, mythology and the aura of Abbey Road Studios". Popular Music 35, n. 3 (14 settembre 2016): 396–417. http://dx.doi.org/10.1017/s0261143016000556.
Testo completoAbstract (sommario):
AbstractIn rock historiography, Abbey Road Studios is depicted as the rock canon's ultimate recording house; home to the Beatles, Pink Floyd and a generation of classic rock album production. In recent years, the studio has struggled to maintain itself as an operational recording house, yet effectively exploits its past to secure its future. This article considers issues of heritage, pilgrimage and tourism before elucidating brand ‘Abbey Road’ as a conflation of geographical location, zebra crossing, graffiti wall, recording house and aura. In separating the tangible aspects of Abbey Road's heritage – the zebra crossing, graffiti wall and the Beatles Abbey Road album – out from its intangibles – its ‘magic’, legacy and studio ‘vibe’ – Abbey Road's studio aura is exposed as a commodity in its own right.
15
Slater, Mark. "Nests, arcs and cycles in the lifespan of a studio project". Popular Music 34, n. 1 (19 dicembre 2014): 67–93. http://dx.doi.org/10.1017/s0261143014000683.
Testo completoAbstract (sommario):
AbstractMiddlewood Sessions produced a kind of popular music that infuses the timbral aesthetics of jazz and orchestral music with the driving rhythms of dance music. This studio project, lasting for almost eight years, provided a rich resource for gaining insight into the increasingly prevalent context of the domestic project studio via a longitudinal case study approach. At the heart of this research is the desire to understand how people collaborate as part of a studio project, how people use technologies to make music and how all of this unfolds over time. To tackle the question of how to understand the shattered, scattered nature of creative practices, and in extending existing creativity research, I propose three ways of thinking about time: nests, arcs and cycles. While explicating this theoretical framework, something of the specific and idiographic nature of the case study, as an example of contemporary music production, is recounted.
16
TONKOSHKURA, Oleg. "The Opera Studio of the Ukrainian National Tchaikovsky Academy of Music. Stages of achievements". CONTEMPORARY ART, n. 18 (29 novembre 2022): 267–76. http://dx.doi.org/10.31500/2309-8813.18.2022.269742.
Testo completoAbstract (sommario):
The article reproduces a complete picture of the functioning of the Opera Studio of the Ukrainian National Tchaikovsky Academy of Music in the late 1940s-2000s. The activity of the creative centre is considered taking into account the universality of its status — on the one hand, as a professional musical theatre with its outstanding creative figures and productions, and, on the other — as a powerful educational, creative workshop, where professional training of future opera singers is carried out. The article pays special attention to the international cooperation of Opera Studio with similar European groups. In particular, the article analyzes the 1980 production of G. F. Handel’s opera “Deidamia,” a joint project of the Pyotr Tchaikovsky Kyiv State Conservatory and the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig. The tasks included: outlining trends in the development of the repertoire policy of the Opera Studio of this period and clarifying and supplementing information about its most significant stage productions.
17
Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade". MUSIC.OLOGY.ECA 1 (11 settembre 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.
Testo completoAbstract (sommario):
The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.
18
Platte, Nathan. "Making Space for Music". Journal of Film Music 10, n. 2 (2 dicembre 2022): 162–69. http://dx.doi.org/10.1558/jfm.24723.
Testo completoAbstract (sommario):
Max Steiner met Robert Wise, future director of West Side Story (1961) and The Sound of Music (1965), at RKO in the early 1930s. While Steiner served as composer and music director for films like Of Human Bondage (1934), The Gay Divorcee (1934), The Informer (1935), and Top Hat (1935), Wise helped manage the soundtrack as an assistant sound and music editor. After Steiner left RKO in early 1936, Wise stayed on at the studio to advance through the ranks of film editor and director before reuniting with Steiner at Warner Bros. for the melodrama So Big (1953) and sword-and-sandals epic Helen of Troy (1956). Drawing on original archival research, this article reconstructs a partnership that briefly flourished at different stages of their careers. At RKO, Wise learned the trade while observing Steiner’s ground-breaking efforts as a composer. By the 1950s Wise was rapidly growing in renown as a director, as signaled by his assignment to the generously budgeted Helen of Troy. In contrast, Steiner faced pay cuts and the termination of his contract at Warner Bros. Steiner’s two productions with Wise boosted Steiner’s lagging career while also illuminating the ways in which shifting aesthetics and production practices in Hollywood had left Steiner at a disadvantage. Whereas So Big represented a throwback to films like Cimarron, which Steiner had scored at RKO in 1931 (both based on Edna Ferber novels), Helen of Troy marked a new emphasis on visual and aural spectacle, with an epic narrative told through CinemaScope, stereophonic sound, and a cast of thousands. Writings on director-composer partnerships tend to emphasize the formation of a distinctive sonic style, in the manner of Alfred Hitchcock and Bernard Herrmann. Steiner and Wise, in contrast, were consummate studio employees, eager to serve productions that ranged widely in topic, genre, and budget. Studying their brief partnership in the 1950s reveals how two individuals well versed in the workings of the Hollywood studio system managed to help each other navigate its dismantling in the 1950s.
19
Moffat, David, e Mark B. Sandler. "Approaches in Intelligent Music Production". Arts 8, n. 4 (25 settembre 2019): 125. http://dx.doi.org/10.3390/arts8040125.
Testo completoAbstract (sommario):
Music production technology has made few advancements over the past few decades. State-of-the-art approaches are based on traditional studio paradigms with new developments primarily focusing on digital modelling of analog equipment. Intelligent music production (IMP) is the approach of introducing some level of artificial intelligence into the space of music production, which has the ability to change the field considerably. There are a multitude of methods that intelligent systems can employ to analyse, interact with, and modify audio. Some systems interact and collaborate with human mix engineers, while others are purely black box autonomous systems, which are uninterpretable and challenging to work with. This article outlines a number of key decisions that need to be considered while producing an intelligent music production system, and identifies some of the assumptions and constraints of each of the various approaches. One of the key aspects to consider in any IMP system is how an individual will interact with the system, and to what extent they can consistently use any IMP tools. The other key aspects are how the target or goal of the system is created and defined, and the manner in which the system directly interacts with audio. The potential for IMP systems to produce new and interesting approaches for analysing and manipulating audio, both for the intended application and creative misappropriation, is considerable.
20
Kruse, Adam J., e Stuart Chapman Hill. "Exploring hip hop music education through online instructional beat production videos". Journal of Music, Technology and Education 12, n. 3 (1 dicembre 2019): 247–60. http://dx.doi.org/10.1386/jmte_00009_1.
Testo completoAbstract (sommario):
This study explores online instructional beat production videos as a way to inform hip hop and popular music education and diversify scholarship in online music learning. The authors conducted a content analysis of YouTube videos, considering the instructional characteristics and content of these videos and the musical technologies employed within them. Findings highlight the importance of YouTube as a repository of hip hop beat production instructional material. Videos focused on composition of new beats, rather than re-creation of existing material, underlining an important distinction between hip hop musical practices and the ‘listen and copy’ approach identified in other vernacular music research ‐ and a distinction between these videos and others studied in extant music education scholarship that focuses on YouTube. The videos showcased varied technologies, some of which (e.g., FL Studio) seem especially well aligned with beat production practice. The article concludes with considerations for music educators and for future research.
21
HELMREICH, STEFAN, e PETER McMURRAY. "Tape, Prince, and the Studio: Interview with Susan Rogers 23 May 2016, Cambridge, MA". Twentieth-Century Music 14, n. 1 (febbraio 2017): 135–47. http://dx.doi.org/10.1017/s1478572217000111.
Testo completoAbstract (sommario):
Susan Rogers has lived many musical lives. As a faculty member at Berklee College of Music, she directs the Berklee Music Cognition and Cognition Laboratory, expanding her research in auditory memory, which she began during her doctoral studies with Daniel Levitin at McGill University. She also teaches analogue studio production, drawing on two decades of experience in recording studios. She is especially well known for her years working as Prince's staff engineer (1983–87), a period in which she not only encountered Prince's own unique uses of tape, but also created his now-infamous tape vault. In many ways, the immediate impetus for this interview was Prince's untimely passing on 21 April 2016. In previous interviews, Rogers had already emerged as a lucid commentator on Prince's work first-hand, but that context adds a certain emotional heft to this interview, conducted one month after the pop music star's death.
22
Montano, Ed, e Simon Zagorski-Thomas. "Introduction to Production Technologies and Studio Practice in Electronic Dance Music Culture". Dancecult 6, n. 1 (2014): 1–7. http://dx.doi.org/10.12801/1947-5403.2014.06.01.00.
Testo completo
23
Ritonga, Danny Ivanno, Tri Danu Satria e Aqsa Mulya. "IMPLEMENTATION OF OPEN BROADCASTER SOFTWARE STUDIO IN MUSIC PERFORMANCE MANAGEMENT THROUGH LIVE STREAMING". Gondang: Jurnal Seni dan Budaya 5, n. 2 (1 dicembre 2021): 204. http://dx.doi.org/10.24114/gondang.v5i2.29638.
Testo completoAbstract (sommario):
This study aims to compile the management of performing arts in musical performances through live streaming at the Music Education Study Program, State University of Medan and to develop methods for implementing Open Broadcaster Software Studio in musical performances through live streaming in the Music Education Study Program. This study uses a qualitative approach by following the opinions of Miles and Huberman (1984), namely (1) data collection (data collection), which is carried out through interviews, observations, document digests, recording and recording; (2) data reduction, which is done by summarizing, selecting the main things, focusing on the important things, looking for themes and patterns and discarding unnecessary ones; (3) data display, which is done by showing data and presenting it in the form of narrative text and charts; (4) conclusion drawing/verification conducted by drawing conclusions and verifying the research findings. The results of the study indicate that the management of performing arts in Karya Musik performances through Live Streaming starts from the planning, organizing, actualling, and controlling stages. A show can be managed well if it has a good management system too. By having a good management system, the performance of the musical works will be able to achieve greater goals, targets, or outputs. Planning begins with preparing Human Resources and preparing hardware and software. The organization consists of the Program Director as the person in charge, Production manager who oversees the Floor Director and Talent/musicians, Multimedia manager who oversees IT operators, Software and Hardware Operators, and Camera Man, and Stage Manager who oversees Sound Operators and Lighting Operators. The implementation of Musical Performances through Live Streaming has been carried out 3 times. They are the Nusantara Tetabuhan Music Show, the Langkat Tamiang Rentak Show, and also the Orchestra Music Show. the methods and steps taken in implementing the OBS Studio software as a medium for the virtual musical performance process include input and output methods and using OBS Studio Software. The Method of Performing Live Streaming Music Works using OBS Studio Software begins with determining the settings and design layout, selecting Capture Card, Copy Code Live Streaming on Youtube, Paste Code Live Streaming to the OBS system, and Start Streaming.
24
Hughes, Alayna. "Maker music: Incorporating the maker and hacker community into music technology education". Journal of Music, Technology & Education 11, n. 3 (1 dicembre 2018): 287–300. http://dx.doi.org/10.1386/jmte.11.3.287_1.
Testo completoAbstract (sommario):
Music Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out on learning other technologies and career paths that could benefit them. I would argue that by not updating the topics in music technology education that this has contributed to the stale output of the music industry within changing times. By incorporating topics such as microcontrollers, interaction and programming, students could discover new ways to work with music and learn skills that will give them more career opportunities. This article will discuss the ideals of the maker and music hacking movement, current pedagogy in Music Production and Technology degree programmes in the United States and United Kingdom and European Union, and the advantages of merging invention and DIY education into the current music technology and music production pedagogy.
25
Menezes, Flo. "La voie du syncrétisme : sur la musique électroacoustique au Brésil". Circuit 17, n. 2 (10 dicembre 2007): 55–64. http://dx.doi.org/10.7202/016839ar.
Testo completoAbstract (sommario):
This text deals with certain aspects of the birth of electroacoustic music in Brazil, by making links between Brazilian contemporary music and economic, political and social circumstances of the country’s history. After describing the emergence of a cannibalistic movement in Brazilian culture, i.e., of musical nationalism, the author seeks to situate the first attempts in the genre and to shed light on the circumstances surrounding the establishment of the first centre of research and production of electroacoustic music in Brazil: Studio panaroma in São Paulo.
26
Sembiring, Bebas, Mauly Purba e Ishbir Mujahid Adha. "Empowering Huruk Gabe Aeksorseang Musical Studio as Bataknese Musical Instrument Craftman in Lintongnihuta Village, Samosir". ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, n. 2 (2 dicembre 2020): 248–58. http://dx.doi.org/10.32734/abdimastalenta.v5i2.5029.
Testo completoAbstract (sommario):
Huta Gabe Aeksorseang studio is a traditional art studio that helped preserve traditional culture, especially the Batak Toba. The presence of this art studio has stimulated creative economy activities within the region. The problems currently being faced by the Huta Gabe Aeksorseang studio have not been made optimal yet. Products that had been sold nationally but had not well known to many other Indonesian consumers due to there is no product brand. The daily activities of this art gallery cultivate traditional music. This community services is carried out with a focus on solving partner problems by providing appropriate science and technology for the local community, especially for the management of the Studio. The method of making traditional musical instruments is still not optimal so that the resulting sound quality is not correctly produced. Science and technology has been given to partners related to production and marketing techniques that have been carried out. We also provided online marketing strategies to assist the online marketing activities of the Huta Gabe Aeksorseang studio. Technical equipment is also provided to help partners improve product quality and product competitiveness with lower production costs. Heavy equipment such as welding machines in the area makes production costs high. With the help of the equipment provided, partners will be more efficient in production, thereby increasing partner competitiveness.
27
de Huu, Roos. "Women in the studio: creativity, control and gender in popular music sound production". Feminist Media Studies 20, n. 3 (2 aprile 2020): 450–51. http://dx.doi.org/10.1080/14680777.2020.1741229.
Testo completo
28
McCartney, Andra. "In and out of the sound studio". Organised Sound 8, n. 1 (aprile 2003): 89–96. http://dx.doi.org/10.1017/s1355771803001109.
Testo completoAbstract (sommario):
This article reports on the first phase of a four-year, multi-university Canadian research project called ‘In and Out of the Studio’. The intention of this project is to study the experiences and working practices of women sound producers in Canada, and to produce a multimedia computer installation and set of articles about their ideas, approaches and philosophies. We are studying gender issues that affect the work of these women in areas as diverse as film sound recording and post-production, sound engineering, radio art, performance art, experimental music, audio documentary production, and web sound. This is a wide range of disciplines, with their associated professional formations. What links the experiences of these diverse cultural workers is their focus on organising sound, and their gender. The first phase of the research focuses on formations: the following phase will concentrate on working practices through a discussion and analysis of specific recent works produced by the participants. The second part of this article explores the working processes of Hildegard Westerkamp in her composition of Gently Penetrating Beneath the Sounding Surfaces of Another Place (1997), through an interview with Westerkamp conducted in 1997. This interview will be used as a model for the in-depth studio interviews in the present study.
29
Anyanwu, Obumneke S., e Emaeyak P. Sylvanus. "Music Production Technology in New Nollywood Soundtracks: Context, Application, and the Effect of Globalization". Music and the Moving Image 15, n. 1 (1 aprile 2022): 22–37. http://dx.doi.org/10.5406/19407610.15.1.02.
Testo completoAbstract (sommario):
Abstract New Nollywood refers to a segment of Nigerian cinema that began in 2012. The industry is based in Lagos and focuses on Hollywood-style approaches to film and film music. Generally, very little has been written about technologies in the film music of Nigerian cinema. This article is the first to focus explicitly on the impact of modern music production technology in New Nollywood soundtracks. Adopting descriptive as well as survey and historical methods of research, this article reveals what the specific and available technologies for film music in New Nollywood were and currently are; how the practitioners have employed them; as well as how the effects of such technologies have shaped the industry's cultural and economics choices. In addition to a review of the broad literature on cinema and film music, the methodology also relies on studio observation sessions with current industry practitioners as well as an analysis of the New Nollywood film The Bling Lagosians (2019). Taken together, findings reveal that the quality of New Nollywood film music is fluid and reflective of changes to the economic, cultural, and technological preferences of practitioners.
30
Wuran, Frederik Kevin, Ricky Irawan, Guntur Eko Prasetyo e Ni Wayan Ardini. "Writing Background Music for “Bali Channel Tourist TV” Television Program". Jurnal Bali Membangun Bali 3, n. 2 (5 agosto 2022): 99–110. http://dx.doi.org/10.51172/jbmb.v3i2.230.
Testo completoAbstract (sommario):
Purpose: The purpose of this research is to describe the writing process of the background music for Bali Channel Tourist TV program at Bali TV.
Research methods: The process of writing the background music for Bali Channel Tourist TV program at Bali TV includes some following stages: observation stage, interview stage, trial stage, and review stage.
Results and discussion: In the process of writing the background music, some important points are: first, observing and gathering information as references for producing background music writing; second, creating some music concepts using the applications for recording named digital audio workstations (DAW); third, discussing the concepts of music with the producers of the Bali Channel Tourist TV in order to get to the final concepts of music; fourth, reviewing the background music which has been created together with the manager of Bali TV Production and the producers of the Bali Channel Tourist TV; fifth, mixing the video and audio using the editing applications like Filmora, Pinnacle Studio, and Adobe Premiere Pro.
Implication: The writing of background music in the Bali Channel Tourist TV program has a good impact on Bali TV, especially in its music production process.
31
Cichocki, Piotr. "Sound production as a cultural practice". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, n. 1 (22 gennaio 2020): 60–80. http://dx.doi.org/10.7146/se.v9i1.118246.
Testo completoAbstract (sommario):
Referring to a notion of cultural practice understood as a constitution of social identity and meaningful everyday performance, this paper questions the practice of music production outside the technological centers of the global North. The author traces relations between the global standards of studio work and the case of “record culture” in Mzuzu, Malawi. On a tangible level, the production of sound and music in Mzuzu is bricolage, a creative combination of varied devices and means within an economy of scarcity.However, sound production in its intangible dimension reveals itself as a practice of mediation between material and immaterial spheres. Spatially, it combines local aesthetics with globally unified technologies. This mediation gathers different temporalities (old, “tribal” rhythms and digital sounds) with cosmologies (i.e. invocation to holy ghosts with gospel music, in contrast to local possession cults). Moreover, people embody many of these practices as opposed to expressing them discursively. As an embodied practice, the production contains social, non-discursive memory while, at the same time, it has a potential for construction of social worlds. Hence, sound production constitutes a sense-making practice that establishes relations between musicians, listeners, and other social actors.
NB: The article contains sound examples. In order to listen to embedded audio files, you must first download the pdf file and then open it with Adobe Acrobat.
32
Harding, Phil, e M. Nyssim Lefford. "Pop vs rock: A comparison study of managing sessions in the recording studio and the influences of genre". Journal of Music, Technology and Education 13, n. 2 (1 dicembre 2021): 141–61. http://dx.doi.org/10.1386/jmte_00020_1.
Testo completoAbstract (sommario):
This study examined the recording session management approaches of two music producers, Phil Harding and Greg Haver, to ascertain if and how their different approaches impact the outcomes of music production projects. Semi-structured interviews were conducted with each producer to gain insight into their approaches generally, and also, as a point of comparison, their work on the educational Gus Dudgeon Foundation/Joint Audio Media Education Support (GDF/JAMES) summer recording sessions specifically. Thematic analyses of the interviews revealed that the producers’ respective approaches are influenced by the genres in which each predominantly works. Harding, a pop producer, is very systematic. Haver, who is better known for his work in rock, uses an organic approach. Consequently, there were some clear differences in their decision making and organizational strategies at the GDF/JAMES sessions. The producers used different criteria to choose a project/artist. Each used distinctive approaches in pre-production (i.e. work on song arrangements and other technical musical decisions), production (recording) and mixing. Still, both produced pop recordings that largely conform to pop norms. Both recordings have similar pop arrangements and meet commercial standards. Findings provide new understanding of session management techniques that can benefit both music production education and practitioners.
33
Stobart, Henry. "Constructing community in the digital home studio: Carnival, creativity and indigenous music video production in the Bolivian Andes". Popular Music 30, n. 2 (maggio 2011): 209–26. http://dx.doi.org/10.1017/s0261143011000031.
Testo completoAbstract (sommario):
AbstractThis paper examines issues surrounding the production of a Carnival music video VCD in the home studio of the Bolivian indigenous(originario)musician and cultural activist Gregorio Mamani. On the one hand, continuities with rural productive practices suggest a model for the ‘home studio’ more resembling a ‘cottage industry’ than the kind of ‘isolated’ activity separate from family life that Paul Théberge has described for the case of North America (1997). On the other hand, the urban isolation, entrepreneurial motivations, and concern with promoting the individual that characterise Gregorio Mamani's home studio suggest the very antithesis of indigenous community values. Notwithstanding difficult relations with his community of origin and his use of technological artifice to construct (or even ‘fake’) an audiovisual impression of thecommunitasof Carnival, Mamani presents this work as a means to ‘strengthen culture’. Despite these contradictions, this low budget production – targeted at rural peasants and urban migrants – is shown to engage deeply with indigenous concepts of creativity and oral tradition, as well as potentially contributing to the construction of broader circuits of culture and ‘imagined communities’. Mamani's individualistic, yet influential, approach and his insistence that only one or two individuals are the composers in an indigenous community, challenges us to question the relationship between creativity and community.
34
Ganelin, Aleksandr E. "Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov". Vestnik of Saint Petersburg University. Arts 11, n. 3 (2021): 393–409. http://dx.doi.org/10.21638/spbu15.2021.303.
Testo completoAbstract (sommario):
The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the beginning of the XX century. The unique theatre school-studio became an autonomous art structure, independent of the staffing and financial demands of repertoire and private theatres that studios during this period experienced. For Meyerhold and other teachers of the Studio, particularly, Vladimir Solov’ev, a top priority was reviving the stage technique commedia dell’arte. The student plays of the studio fully reflected the undoubted successes and, naturally, the vulnerabilities inherent in such innovative searches. The article analyzes the detailed list of stylistic, mise-en-scenic and decoration production solutions proposed by Meyerhold and Yuri Bondi, the opportunity to improvise in a pre-prepared directorial plan. Sergei Radlov, a participant in the Studio at Borodinskaya, continued his creative search in the approach proposed by Meyerhold for the development of an improvisational synthetic theatre. Radlov’s directorial and pedagogical work in the studios of Kurmascep, “Popular comedy” (Narodnaya Comediya), etc., at the Institute (later Technical School) of stage arts deserves additional consideration in terms of the scientific analysis of the evolution of his innovative views at the beginning of the century and their interconnection with traditional approaches to theater education and stage practice of those years.
35
Burston, Jonathan. "Theatre space as virtual place: audio technology, the reconfigured singing body, and the megamusical". Popular Music 17, n. 2 (maggio 1998): 205–18. http://dx.doi.org/10.1017/s026114300000060x.
Testo completoAbstract (sommario):
Early popular and theoretical work in popular music studies often bestowed implicit or explicit legitimacy on forms of music cultivating or preserving a ‘live’, ‘unplugged’, ‘acoustic’ and hence ‘authentic’ sound. Over the past fifteen years, much popular music scholarship (Frith 1986; Goodwin 1992; Cutler 1984) has rightly problematised this approach. It is important to note, however, that interpretations of popular music texts or scenes that depict the electrification or digitalisation of sound as uncomplicatedly pro-social or progressive remain problematic themselves. Within popular music production today, few areas exist where these aesthetics of recorded music have failed to penetrate. But there is one sub-field of popular music where the characteristic sounds of recording studio technology are still relatively new. It warrants the attention not only of those engaged in the study of popular music, but also of those involved in the exploration of virtual environments. This sub-field is the contemporary stage musical.
36
Herbst, Jan-Peter. "Culture-specific production and performance characteristics: An interview study with ‘Teutonic’ metal producers". Metal Music Studies 7, n. 3 (1 settembre 2021): 445–67. http://dx.doi.org/10.1386/mms_00059_1.
Testo completoAbstract (sommario):
Viking metal, Teutonic metal, Mesopotamian metal – labels of this kind are common in fan discourse, media and academia. Whereas some research has investigated such labels and related them to the artist’s stage presentation, music videos, artwork and lyrics, there is still a lack from the perspectives of music production and performance as to how such culturally and geographically associated labels differ musically. This article explores culture-specific production and performance characteristics of Teutonic metal, focusing on how metal from Germany differed from British and US-American productions in the 1980s and 1990s, during which time metal spread to Continental Europe and German speed metal achieved an international reputation for its original interpretation of metal. The study is based on a qualitative interview design with three record producers who were crucial for the rise of German metal labels and their bands: Harris Johns for Noise Records, Siggi Bemm for Century Media and Charlie Bauerfeind for Steamhammer. The findings suggest that performances differed between bands from Germany, America and Great Britain regarding timing, rhythmic precision, ensemble synchronization and expressiveness. Likewise, production approaches varied due to distinct preferences for certain guitar amplifiers, drum tunings, microphone techniques, mixing concepts and studio acoustics. Despite such culture-specific differences, it proved difficult for the interviewed producers to identify distinguishing features. Genre conventions seem to have a stronger impact than cultural origin overall.
37
Platte, Nathan. "Dream Analysis: Korngold, Mendelssohn, and Musical Adaptations in Warner Bros.' A Midsummer Night's Dream (1935)". 19th-Century Music 34, n. 3 (2011): 211–36. http://dx.doi.org/10.1525/ncm.2011.34.3.211.
Testo completoAbstract (sommario):
Abstract In his first film score, Erich Wolfgang Korngold adapted the works of Felix Mendelssohn so that the music seemed to interact and respond with the visual editing of the film, A Midsummer Night's Dream (Warner Bros., 1935). By detailing the facets of this unusual production, which range from Korngold's presence on the set to the publicity department's efforts to spotlight Mendelssohn's music and Korngold's arrangements, I argue that the score for Dream played an important role in elevating film music and film composers within the hierarchy of Hollywood production and publicity. Not only was the Mendelssohn-Korngold score given greater consideration during the film's making, but also audiences were reminded to listen to the film's music, a facet rarely acknowledged in other contemporaneous publicity drives. Importantly, these changes were effected and rationalized through the self-conscious foregrounding of the music, principles, and rhetoric of nineteenth-century Romanticism. Documents at the Warner Bros. Archive reveal how the confluence of these factors not only established the unusual tenor of Korngold's career within the Hollywood studio system but also helped construct the film composer's public image as an incongruously independent artist working within an otherwise collaborative medium.
38
Morrison, Simon. "The Origins of Daphnis et Chloe (1912)". 19th-Century Music 28, n. 1 (2004): 50–76. http://dx.doi.org/10.1525/ncm.2004.28.1.50.
Testo completoAbstract (sommario):
Beyond Maurice Ravel's 1910 score, the remnants of the original production of Daphnis et Chloe--one known stage photograph, an assortment of studio photographs, seven known costumes, brief reviews, anecdotal memoirs, and a bundle of pastel drawings--constitute choreographer Michel Fokine's 1907 scenario. These materials are scattered across the globe, preserved in libraries and museums in Russia, Sweden, France, England, and the United States. They compose less a ballet, even the archival detritus of a ballet, than a haunting absence. This article assembles all of these materials in an assessment of the differences between Ravel's and Fokine's conceptions of Hellenic antiquity. The discussion focuses on the draft and revised versions of the literary scenario and the draft and revised versions of the finale of the score, cast in 3/4 and 5/4 meter respectively. The ending of the article offers brief remarks on the music-dance relationship in the original and two subsequent productions of the ballet.
39
Brackett, David. "Listening to Electric Miles". Journal of Jazz Studies 15, n. 1 (9 luglio 2024): 1–38. http://dx.doi.org/10.14713/jjs.v15i1.270.
Testo completoAbstract (sommario):
This project considers a case study from the archive of modern recorded jazz—Miles Davis’s Jack Johnson (1971)—as a means to address the collaborative aesthetic, technical, and social dimensions of record production. The release of The Complete Jack Johnson Sessions (2003) contains a number of alternate takes and “inserts” that were cut up and spliced together to create extended tracks on several albums by Davis released from 1971 to 1974. Drawing on recent work in popular music studies, ethnomusicology, and studies in the art of record production, I ask how this studio collaboration affects our notions of authorship and creativity in jazz. In other words, what is the relationship between the countless decisions in the studio and the sound that results? I will study studio practices and interactions in an integrated fashion, bringing together technological, practical, social, and creative/artistic components through a detailed consideration of the construction of a specific track from the album, “Yesternow.” The study of this little-discussed album by a canonical artist allows us to show how a specific approach to recording, as well as changes in recording technology, can be correlated with sonic and formal differences, and social relations.
40
Pras, Amandine. "Women in the Studio. Creativity, Control and Gender in Popular Music Sound Production, de Paula Wolfe". Revue musicale OICRM 7, n. 2 (2020): 158. http://dx.doi.org/10.7202/1072424ar.
Testo completo
41
Findlay-Walsh, Iain. "Sonic Autoethnographies: Personal listening as compositional context". Organised Sound 23, n. 1 (26 dicembre 2017): 121–30. http://dx.doi.org/10.1017/s1355771817000371.
Testo completoAbstract (sommario):
This article discusses a range of self-reflexive tendencies in field recording, soundscape composition and studio production, and explores examples of sonic practices and works in which the personal listening experiences of the composer are a key contextual and compositional element. As broad areas for discussion, particular attention is given tosoundscape composition as self-narrative(exploring the representation of the recordist in soundscape works) and toproducing the hyperreal and the liminal(considering spatial characteristics of contemporary auditory experience and their consequences for sonic practice). The discussion then focuses on the specific application of autoethnographic research methods to the practice and the understanding of soundscape composition. Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author’s own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work.
42
Satdarova, Liliana L. "MUSIC BY R. M. GLIÈRE FOR DRAMA THEATRE". Arts education and science 4, n. 37 (2023): 164–74. http://dx.doi.org/10.36871/hon.202304164.
Testo completoAbstract (sommario):
The article is dedicated to R. M. Glière, a famous composer of the XXth century. One of the little- explored pages of his oeuvre is music for the drama theatre, which he periodically worked on throughout his life (1905–1956). At the moment, 15 scores are known to exist, many lost. Glière had a long and fruitful collaboration with Vl. I. Nemirovich-Danchenko and the music studio at the Moscow Art Theatre. Their first joint work on Aristophanes’ play “Lisistrata” was revolutionary and especially successful. The music material has hardly been preserved, it is difficult to get an idea of the performance from the surviving sketches. Indirect evidence of Glière’s masterwork is found in the published letters of Vl. I. Nemirovich-Danchenko and O. S. Bokshanskaya. This production is highly appreciated in the works devoted to the history of the theatre, but there is very little attention paid to music. The fate of the play “Lisistrata” by Aristophanes in Russia is interesting: editions, translations, repeated attempts at stage realisation, including in the recent past. The article provides a number of explanations for such popularity of “Lisistrata”. The production of Vl. I. Nemirovich-Danchenko is one of the best, the more surprising is the fact that Glière’s contribution to the development of drama theatre is underestimated, and the example of “Lysistrata” is especially indicative.
43
Chocano, Rodrigo. "Outsourcing the nation? Musical collaboration, nation building and neo-liberal logics in Coke Studio Pakistan". Indian Theatre Journal 6, n. 1 (1 agosto 2022): 77–95. http://dx.doi.org/10.1386/itj_00028_1.
Testo completoAbstract (sommario):
Coke Studio Pakistan is a decade-long music reality show featuring collaborations between pop, classical and local folk musicians. Sponsored by Coca-Cola and displaying a state-of-the-art production, it aims to bring local and old-school musicians and repertories to the Pakistani urban youth while disseminating a positive image of Pakistan. This occurs in the context of the efforts of Pakistani entrepreneurs and artists towards their insertion into the global market while overcoming the country’s negative international reputation due to religious violence. This article analyses Coke Studio Pakistan under the lens of neo-liberal nationalism, characterizing it as a nation-branding effort that uses music to make a representation of Pakistan that complies with Coca-Cola’s corporate goals and with the agendas of a sector of Pakistani artists. A quantitative and network analysis of the show reveals which artists, genres, regions and cultural groups the show privileges or overlooks. A qualitative study of the show’s communicational strategy and of the discourses of its creators and sponsors complements the quantitative analysis. This article explores the complexities of a nationalist model of multicultural citizenship promoted by the private sector, including issues of cultural representation, corporate agendas, class relationships, responsiveness to audiences’ demands and international politics.
44
Maiorino, Alexandre. "Evaluation of a rehearsal/recording room project for symphonic orchestra based on ISO23591". Journal of the Acoustical Society of America 152, n. 4 (ottobre 2022): A103. http://dx.doi.org/10.1121/10.0015686.
Testo completoAbstract (sommario):
The School of Music of the Federal University of Rio Grande do Norte is one of the fewer Federal Institutions in Brazil that is equipped with a recording studio attending a technical course in recording production. In 2021, the School of Music started a plan for its expansion with the project of a 7-storey building that will house a recording studio connected with several rehearsal rooms. One of the rooms was specifically planned to hold rehearsals and recordings of the UFRN Philharmonic Orchestra and the Big Band Jerimum Jazz. The objective of this research is to show the procedures used to evaluate, during the planning processes, the acoustics of the Philharmonic’s rehearsal room using as reference the new standard ISO 23591. Results showed that it was possible to identify initial acoustical problems and indicate solutions for the best modification of the space, even in the initial stages of the project. The room, with approximately 235 m2 and 6 m in height, was readjusted to a height of 9 m so that the space could comply with the recommendations of the standard. Next challenge will be to properly plan its isolation, since the new school library is above this room.
45
Fields, Kenneth. "Syneme: Live". Organised Sound 17, n. 1 (14 febbraio 2012): 86–95. http://dx.doi.org/10.1017/s1355771811000549.
Testo completoAbstract (sommario):
Network music foregrounds the materials and processes of communication and in so doing repositions the acousmatic and other strata of electroacoustic music practice. The type of network music considered in this paper, at base defines a member of its category as music which undergoes an electrical-optical conversion, referring to its transport over fibre-optic research network backbones. A more compelling motivation for us is the realisation that network music entails the exploration of disjunct chronotopic frames (stated less poetically as ‘latency in the network’) using probes of sonic material travelling near the speed of light. This article is an overview of a three-year project investigating music performance over high-speed research networks, a project funded by the Canada Research Chair programme (Syneme). The aim of the project was fourfold: to investigate aspects of physical and social networks in the production of network music (The Network); to investigate a branch of study continuing but critically distinct from Internet music as marked by ingenious strategies mounted to overcome the conditions of slow networks (Liveness); to embed ourselves in new practices (Telemusic Studio) and technologies (Artsmesh); and to compose network music pieces (Net Works). Our narrative picks up from where high-speed P2P networking crosses a threshold producing a successor to the Internet akin to the methodological shift that occurred in electroacoustics when CPUs achieved rendering speeds that allowed for real-time audio.
46
Atton, Chris. "Challenging authenticity: fakes and forgeries in rock music". Popular Music 38, n. 2 (maggio 2019): 204–18. http://dx.doi.org/10.1017/s0261143019000084.
Testo completoAbstract (sommario):
AbstractAuthenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This article examines the nature and motives of faking in recorded music, such as inventing imaginary groups or passing off studio recordings as live performances. In addition to a survey of types of fakes and the motives of those responsible for them, the article presents two case studies, one of the ‘fake’ American group the Residents, the other of the Unknown Deutschland series of releases, purporting to be hitherto unknown recordings of German rock groups from the 1970s. By examining the critical reception of these cases and taking into account ethical and aesthetic considerations, the article argues that the relationship between the authentic (the ‘real’) and the inauthentic (the ‘fake’) is complex. It concludes that, to judge from fans’ responses at least, the fake can be judged as possessing cultural value and may even be considered as authentic.
47
Askerøi, Eirik. "Transmissions: Sonic markers of difference in the sound of Joy Division". Punk & Post Punk 10, n. 2 (1 giugno 2021): 201–20. http://dx.doi.org/10.1386/punk_00072_1.
Testo completoAbstract (sommario):
Situated within the field of popular musicology, this article sets out to explore the formation of Joy Division’s characteristic sound along three lines of enquiry. Firstly, I investigate the contextual framework through which the tale of Joy Division was shaped focusing specifically on their music’s apparent relation to Manchester. Secondly, building on this contextual framework, I examine various aspects of the band’s production aesthetics. Producer Martin Hannett is often credited with the formation of their sound, and I consider the impact of his use of technology in the studio in relation to the band’s relatively roughshod live performances. Thirdly, I explore how characteristic sonic markers of production and performance can also be identified as performative strategies in Joy Division’s music. Although Hannett played a significant role in shaping the band’s sound, their individual performances as formally untrained instrumentalists who were apparently governed solely by a shared creative vision undoubtedly affects that sound as well. The overall aim of this article, then, is to display the complexity of this particular tale and especially the ways in which sonic markers of difference have played a major role in the formation of one of pop music history’s sturdiest tales.
48
Dicenzo, Maria, e Jim Ellis. "In Review". Canadian Theatre Review 101 (gennaio 2000): 93–95. http://dx.doi.org/10.3138/ctr.101.015.
Testo completoAbstract (sommario):
Allegro molto con brio king kong, subtitled “a digital opera,” is a complex and compelling mixture of dance, video, live music and pre-recorded singing. Ultimately based on the Prometheus legend, the opera is an investigation of the intersections between technology, culture and myth in the modern era. Allegro premiered 8-10 April 1999 at Dancers’ Studio West in Calgary, part of a season that featured the work of emerging Alberta choreographers. The principal collaborators were Doug DeRoche, who wrote the libretto, choreographer Danielle McCulloch and composer Kenneth Doren, who was also responsible for the original concept and for the various multimedia aspects of the production.
49
黃文龍, 黃文龍, e 周成虎 周成虎. "內容產製與當代影視產業：LED 幕虛擬製作室之研究". 傳播研究與實踐 13, n. 2 (luglio 2023): 187–216. http://dx.doi.org/10.53106/222114112023071302007.
Testo completoAbstract (sommario):
<p>自2019 年《曼達洛人》（The Mandalorian ）影集採用LED 幕取代藍、綠幕的製作方式，已為影視產業帶來新的變革。因此，本研究試圖探討LED幕虛擬製作室對當代影視產業、影視內容產製與視覺美學之影響。研究方法採用文獻分析法與深度訪談法，研究結果首先得出採用LED 幕虛擬製作室時，後期製作必須在前期階段就展開，且要在拍攝前完成虛實景物預覽等工作，此「後期前製化」改變了產製流程。其次，LED 幕虛擬製作室目前以製作廣告、MV 類型為多，建議未來可以開發電影或影集來擴展製作內容與國際競爭力。最後在視覺美學方面，多種數位科技的深度混合可讓演員進入虛擬空間演出時，感知到周遭環境的真實性，進而創造擬真性的虛實影像，以引發觀者沈浸在感知真實性之美學體驗。</p> <p> </p><p>The use of LED screens instead of blue and green screens for production in The Mandalorian television series since 2019 has brought about a revolution in the film and television industry. This study aims to explore the impact of LED screen virtual production studios on the contemporary film and television industry, content production, and visual aesthetics. The study employed literature analysis and in-depth interviews as research methodologies. Findings indicate that, firstly, the adoption of LED screen virtual production studios requires the post-production process to be initiated during the pre-production stage, and the preview of virtual and real scenery must be completed before shooting, resulting in a change in the production process. Secondly, LED screen virtual production studios are currently primarily used for producing advertisements and music videos. The study suggests that, in the future, the studio can be employed for creating films or television series in order to expand the range of content production and increase international competitiveness. Finally, the deep integration of various digital technologies in visual aesthetics allows performers to perceive the realism of their surroundings while performing in the virtual space, thereby creating a realistic virtual image to immerse viewers in an aesthetically pleasing experience of perceptual realism.</p> <p> </p>
50
McNeill, Fraser G. "MAKING MUSIC, MAKING MONEY: INFORMAL MUSICAL PRODUCTION AND PERFORMANCE IN VENDA, SOUTH AFRICA". Africa 82, n. 1 (19 gennaio 2012): 93–110. http://dx.doi.org/10.1017/s000197201100074x.
Testo completoAbstract (sommario):
ABSTRACTThis article presents an ethnographic analysis of the popular economy of informal musical production in the Venda region of South Africa. It focuses on the activities surrounding the Burnin' Shak Studio, a recording house that specializes in reggae music. Reliant on second-hand computers, pirated software, borrowed instruments, networks of trust and cycles of debt, musicians and producers in the Burnin' Shak occupy a distinctly peripheral position in South Africa's music industry. Unlike artists in the formal sphere of musical production, who sign deals with specific record labels, musicians in the informal sector seek out sponsors – usually young local businessmen – to fund their recordings with local producers. Marketing and distribution is the sole responsibility of the artist and the sponsor, who often develop a ‘patron–client’ relationship. And yet whilst the artists' entrepreneurial activity often earns them significant airplay on local radio stations, and associated cultural capital, the financial benefits are slim. In order to convert their cultural capital into cash, musicians in the informal sector must compete in the market for performances at government-sponsored shows. These shows are well funded by lucrative tenders, but they present musicians with a double-edged sword. To secure a contract with tender holders – or to entertain hopes of regular paid performances – musicians must ensure that these performances do not express critical political sentiment. As purveyors of a genre renowned for its critical social commentary, reggae musicians are particularly affected by this expectation of self-censorship. Informal musical production in the post-apartheid era thus affords musicians little artistic freedom. Rather, whilst the products of this culture industry may appear to be part of a ‘secondary’ economy, removed from the spheres of formalized production and control, they are in fact regulated and standardized through the process of tender allocation.