Bibliografie tematiche / Music technology

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Letteratura scientifica selezionata sul tema "Music technology"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 9 marzo 2023

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Articoli di riviste sul tema "Music technology"

Makhammatov, Abdumannon. "Computerization Technology Of Music Education". American Journal of Social Science and Education Innovations 02, n. 10 (31 ottobre 2020): 418–21. http://dx.doi.org/10.37547/tajssei/volume02issue10-67.

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Barnicle, Stephan. "Music Technology". Music Educators Journal 84, n. 3 (novembre 1997): 9. http://dx.doi.org/10.2307/3399047.

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Tarabella, Leonello. "Music, communication, technology". Journal of Science Communication 04, n. 01 (21 marzo 2005): C05. http://dx.doi.org/10.22323/2.04010305.

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Kassner, Kirk. "Funding Music Technology". Music Educators Journal 84, n. 6 (maggio 1998): 30–35. http://dx.doi.org/10.2307/3399099.

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Mozée, Ben. "Music Technology Labs". Phi Delta Kappan 86, n. 5 (gennaio 2005): 416. http://dx.doi.org/10.1177/003172170508600519.

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Flašar, Martin. "Technology or theology? : music beyond technology". Musicologica Brunensia, n. 1 (2017): 63–68. http://dx.doi.org/10.5817/mb2017-1-6.

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Netti, S. Yollis Michdon, e Irwansyah Irwansyah. "Spotify: Aplikasi Music Streaming untuk Generasi Milenial". Jurnal Komunikasi 10, n. 1 (31 luglio 2018): 1. http://dx.doi.org/10.24912/jk.v10i1.1102.

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Abstract (sommario):

The large population in Indonesia has become a huge market for many products, including streaming music-based technology products, to reach the target audience of young people. One of the applications that is becoming a trend at the moment is Spotify. A streaming music platform that has many interesting features, and is widely used by millenial generation around the world, including in Indonesia to listen to music. This paper aims to explain clearly and detail about Spotify as the world's largest streaming music platform, how the business model used by Spotify, how Spotify helps musicians to maximize their earnings, how Spotify can change the trend of listening to music from millennials and connoisseurs music around the world, what is the millennial reference for listening to music online, how millennial generation consumes music, history and streaming music technology trends, how Spotify prepares its technology to remain number one, how does music streaming in Spotify, what Just about the online advertising services from Spotify For Brands, how to implement Spotify ads for the brand and ad format used, what brand success stories have used Spotify's advertising services, and how Spotify helps the brand to reach millennials in effective, and how Spotify utilizes technology to be at the forefront of the moment. Jumlah penduduk yang besar di Indonesia menjadi pasar yang sangat besar bagi berbagai produk, termasuk di dalamnya produk teknologi berbasis musik streaming, untuk menjangkau target audience anak muda. Salah satu aplikasi yang sedang menjadi tren pada saat ini adalah Spotify. Sebuah platform musik streaming yang memiliki banyak fitur menarik, serta banyak digunakan oleh generasi milenial di seluruh dunia, termasuk di Indonesia untuk mendengarkan musik. Tulisan ini bertujuan untuk memaparkan secara jelas dan detail tentang Spotify sebagai sebuah platform musik streaming terbesar di dunia, bagaimana model bisnis yang digunakan oleh Spotify, bagaimana Spotify membantu para musisi di dalam memaksimalkan pendapatannya, bagaimana Spotify dapat mengubah trend mendengar musik dari para milenial maupun penikmat musik di seluruh dunia, apa yang menjadi acuan dari generasi milenial untuk mendengarkan musik secara online, bagaimana generasi milenial mengkonsumsi musik, sejarah dan tren teknologi musik streaming, bagaimana Spotify mempersiapkan teknologinya untuk tetap menjadi nomor satu, bagaimana cara kerja music streaming di Spotify, apa saja layanan-layanan periklanan online dari Spotify For Brands, bagaimana implementasi iklan Spotify untuk brand dan format iklan yang digunakan, apa saja kisah sukses brand yang telah menggunakan layanan iklan dari Spotify, dan bagaimana Spotify membantu brand untuk dapat menjangkau generasi milenial secara efektif, dan bagaimana Spotify memanfaatkan teknologi untuk menjadi yang terdepan pada saat ini.

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Zhang, Peiwei, e Xin Sui. "Application of Digital Music Technology in Music Pedagogy". International Journal of Emerging Technologies in Learning (iJET) 12, n. 12 (20 dicembre 2017): 4. http://dx.doi.org/10.3991/ijet.v12i12.7966.

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This paper expounds the concept and current development of digital music technology in modern times by exploration and analysis around the music technology, in order to better develop music pedagogy. In allusion to the contemporary music pedagogy, a new instruction idea is proposed by analyzing the digital music technologies such as MIDI, digital audio and other new music carriers, namely, an instruction model which integrates the digital music technology and the traditional teaching mode and means in the music classroom of middle school. In order to validate the availability of digital music technology, this paper also contemplates the current development of digital music industry and demonstrates the importance of digital music in modern music pedagogy by drilling down the digital music characteristics. In the end, it is concluded that the digital music technology introduced in music classroom instruction of middle schools contributes to cultivating students' music learning capacity.

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Sanders, Paul. "Technology in Music Education". Musical Times 133, n. 1795 (settembre 1992): 440. http://dx.doi.org/10.2307/1002363.

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Rudolph, Thomas. "Technology and music education". ACM SIGCUE Outlook 21, n. 2 (novembre 1991): 84–86. http://dx.doi.org/10.1145/122463.122473.

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Tesi sul tema "Music technology"

Barrett, James Edward. "Music technology in school education". Thesis, London Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515328.

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What is music, and how should it be taught in schools? This thesis traces how education and literation have reified music and distanced the construction of music in western conceptions, and British education, from practice in other, historical and geographical, cultures. Musical practice is dependant on the technologies for music production, which also influence the cultural construction of music. New developments in music technology, through the application of electronics and digitisation, have substantially changed the music industry, and, beyond this, have altered the generally accepted construction of music, by opening up new possibilities of sound creation and manipulation. These changes are theorised here as a transgressional step in the progressive literation of music, that reconnects musical practice to wider possibilities in the organisation of sound, some of which are examined by reference to the example of the traditional music of sub-Saharan Africa. By requiring more music practice, and inclusion of music from other times and cultures, the (British) National Curriculum has made new demands of music education in schools. It is shown that as these coincide with concomitant changes in the production of music due to new technologies, there is a possibility of restructuring music teaching in schools to take account of twenty-first century industry practice of music production. This will provide a sound basis for future employment to pupils. While there are many examples of excellence in school music teaching, quality remains variable and change is uneven. This thesis demonstrates the possibility within school music, of increasing the emphasis on a wider range ix of possibilities of organised sound, by connecting music to science, especially acoustical science, in Key Stages 1-3. At higher levels, considering music and sound together with images in multimedia will provide wider opportunities for the development of career skills. An electronic xylophone serves as an example of an instrument developed to enable the exploration of sound in the manner proposed, while retaining the kinaethesia found in physical musical instruments.

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Sarkar, Mihir Ph D. Massachusetts Institute of Technology. "World music technology : culturally sensitive strategies for automatic music prediction". Thesis, Massachusetts Institute of Technology, 2012. http://hdl.handle.net/1721.1/77812.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.
Cataloged from PDF version of thesis.
Includes bibliographical references (p. 103-112).
Music has been shown to form an essential part of the human experience-every known society engages in music. However, as universal as it may be, music has evolved into a variety of genres, peculiar to particular cultures. In fact people acquire musical skill, understanding, and appreciation specific to the music they have been exposed to. This process of enculturation builds mental structures that form the cognitive basis for musical expectation. In this thesis I argue that in order for machines to perform musical tasks like humans do, in particular to predict music, they need to be subjected to a similar enculturation process by design. This work is grounded in an information theoretic framework that takes cultural context into account. I introduce a measure of musical entropy to analyze the predictability of musical events as a function of prior musical exposure. Then I discuss computational models for music representation that are informed by genre-specific containers for musical elements like notes. Finally I propose a software framework for automatic music prediction. The system extracts a lexicon of melodic, or timbral, and rhythmic primitives from audio, and generates a hierarchical grammar to represent the structure of a particular musical form. To improve prediction accuracy, context can be switched with cultural plug-ins that are designed for specific musical instruments and genres. In listening experiments involving music synthesis a culture-specific design fares significantly better than a culture-agnostic one. Hence my findings support the importance of computational enculturation for automatic music prediction. Furthermore I suggest that in order to sustain and cultivate the diversity of musical traditions around the world it is indispensable that we design culturally sensitive music technology.
by Mihir Sarkar.
Ph.D.

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Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland". Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.

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This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.

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Williams, Andrew. "The functions of Walkman music /". Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09PH/09phw7211.pdf.

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Ebadi, Solmaz, e Mirja Johansson. "Music File Sharing : Genius Technology or Copyright Infringement?" Thesis, Jönköping University, JIBS, Commercial Law, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7598.

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Today’s technology of music file sharing in peer-to-peer networks is genius. Peer-to-peer are networks composed of several computers enabling files to be shared among users. A substantial part of the files shared constitute unlawful copies; uploading and downloading of such files infringes copyright legislation. File sharing through peer-to-peer networks is therefore both a genius technology and a copyright infringement.

Peer-to-peer technology has been subject to heavy debate in media, both nationally and internationally. The issue of illegal downloads of music is an international dilemma since music is a global commodity. Sweden has been accused of being file sharers’ haven by organisations such as the Recording Industry Association of America (RIAA). Internet access and broadband capacity is very high in Sweden, which is a reason why many Swedes engage in file sharing. The Swedish company, The Pirate Bay, is the creator of one of the most popular file sharing websites in the world, using the BitTorrent application. The website offers free downloading of inter alia music, films and software. Like most peer-to-peer networks the Pirate Bay website includes copyrighted material, which often is published without the consent of copyright holders. As a result The Pirate Bay is facing a lawsuit on behalf of numerous organisations and companies in the music and film industry.

The Pirate Bay is accused of contributory infringement and of preparation to commit a copyright infringement according to the Swedish Copyright Act (SwCA). Contrary to the American copyright legislation, the SwCA does not contain any explicit provisions regarding contributory infringement. The SwCA refers to the Swedish Criminal Code, which states that preparation to copyright infringement and contributing to such infringement is illegal and punishable. There is currently a lack of Swedish case law regarding copyright infringement and there are no cases concerning contributory infringement. One reason is that the field of law is constantly changing; the copyright legislation is adjusted to the technological developments. The lack of case law causes unpredictability of the SwCA, which may be harmful to the rule of law. International organisations, such as the RIAA, consider the SwCA to be somewhat ineffective and that it needs to be amended in order to uphold the fundamental purpose of copyright.

Copyright is a partly harmonised area of law from a global perspective. However, since the Internet and file sharing through peer-to-peer networks is an international phenomenon, copyright legislation needs further harmonisation internationally. At the time there is an ongoing process of implementing the European Union (EU) Enforcement Directive into the SwCA, which grants greater rights to copyright holders. The Directive contains provisions that simplify the process of taking action against an alleged infringer, which may in the long run increase the amount of case law in Sweden. At the same time the implementation of the Enforcement Directive has been criticised as being too far reaching and intruding people’s privacy.

File sharing through peer-to-peer networks benefits consumers by offering easy access to a wide range of music for a low cost, at the same time enabling artists to reach out to a larger audience. Consumers are vital for the music industry, since they purchase the music. However, the fundamental aim of copyright is to reward copyright holders and function as an incentive to encourage creativity. Consequently, without economic rights the incentive to create is forfeit and music production might decrease. Even if the justification of copyright is primarily to protect creators of a work, it is also essential to emphasise the consumer aspect. Therefore it is of importance to balance the interests of all parties involved.

In order to uphold the purpose of copyright and interests of the general public, it is necessary to promote and develop more legal file sharing alternatives. Music in digital formats has to some extent replaced the traditional Compact Disc (CD) format. Therefore the music industry must cooperate with among others Internet Service Providers (ISPs) in order to embrace the digital developments of music and offer better solutions to consumers. Simultaneously, there is a lack of knowledge of copyright among the Swedish population, which is why more education is required. In conclusion, advertisement and education could decrease illegal file sharing and enhance all the parties’ interests.

Dagens fildelningsteknologi i peer-to-peer nätverk är genial. Peer-to-peer är nätverk bestående av flera sammankopplade datorer som möjliggör fildelning mellan användare. En betydande mängd av de delade filerna utgör dock olagliga kopior; uppladdning och nedladdning av sådana filer bryter mot upphovsrättslagstiftningen. Fildelning genom peer-to-peer nätverk är därför både genial teknologi och upphovsrättsintrång.

Peer-to-peer teknologin har väckt stor debatt i media, både nationellt och internationellt. Frågan kring illegal nedladdning av musik är ett internationellt dilemma eftersom musik är en global handelsvara. Sverige har kritiserats av organisationer som Recording Industry Association of America (RIAA) för att vara en frizon för fildelare. Tillgången till internet och bredband är väldigt hög i Sverige, vilket är en anledning till varför många svenskar fildelar. Det svenska företaget The Pirate Bay som använder sig av BitTorrent protokollet, är skapare till en av världens populäraste fildelningssajter. Webbsidan erbjuder gratis nedladdning av bland annat musik, film och programvara. I likhet med de flesta peer-to-peer nätverk innehåller The Pirate Bay’s hemsida upphovsrättsskyddat material som ofta har blivit tillgängliggjort utan upphovsrättshavarens medgivande. Till följd av detta har ett flertal organisationer och företag inom musik- och filmindustrin ingett en stämningsansökan mot The Pirate Bay.

The Pirate Bay är åtalade för medhjälp och förberedelse till brott mot upphovsrättslagen. I motsats till den amerikanska lagen om upphovsrätt innehåller inte den svenska upphovsrättslagen några uttryckliga bestämmelser rörande medhjälp till brott mot upphovsrätt. Upphovsrättslagen hänvisar istället till brottsbalken som stadgar att förberedelse och medverkan till brott är olagligt och straffbart. I dagsläget finns endast ett fåtal svenska rättsfall angående upphovsrättsintrång men inga fall kring medhjälp till upphovsrättsintrång. En bidragande faktor kan vara att rättsområdet ständigt ändras; upphovsrättslagstiftningen anpassas kontinuerligt till den tekniska utvecklingen. Bristen på svenska rättsfall leder till att upphovsrättslagens tillämpning blir oförutsägbar, vilket kan vara skadligt för rättsäkerheten. Internationella organisationer som exempelvis RIAA anser att den svenska upphovsrättslagen är ineffektiv och att ändringar behöver göras för att upprätthålla upphovsrättens grundläggande syfte.

Upphovsrätten är till viss del en harmoniserad lagstiftning ur ett globalt perspektiv. Eftersom internet och fildelning genom peer-to-peer nätverk är ett internationellt fenomen behöver upphovsrättslagen ytterligare harmonisering på ett internationellt plan. I dagsläget pågår en implementering av Europeiska Unionens (EU:s) sanktionsdirektiv som tillerkänner större rättigheter till upphovsrättshavare. Direktivet innehåller bestämmelser som förenklar möjligheten för rättighetshavare att vidta åtgärder mot personer som begår upphovsrättsintrång, vilket på sikt kan komma att bidra till en ökad mängd rättsfall. Sanktionsdirektivet har samtidigt kritiserats för att vara alltför långtgående och inskränker människors rätt till privatliv.

Fildelning genom peer-to-peer nätverk är förmånligt för konsumenter genom att utbudet av musik är stort, lättillgängligt och till en låg kostnad; samtidigt ger nätverken artister möjligheten att nå ut till en bredare publik. Konsumenter är nödvändiga för musikindustrin eftersom de inhandlar musiken. Dock är det viktigt att upprätthålla det fundamentala syftet med upphovsrätt, vilket är att ersätta upphovsrättshavaren för sitt verk och fungera som ett incitament till att stimulera skapade. Utan de ekonomiska rättigheterna skulle uppmuntran att skapa nya alster gå förlorad, och musikproduktionen skulle minska. Trots att upphovsrätten rättfärdigas genom att skydda rättighetshavare så är det även angeläget att understryka värdet av konsumenterna. Det är därför av stor vikt att balansera samtliga parters intressen.

Det är nödvändigt att marknadsföra och utveckla fler lagliga fildelningsalternativ för att upprätthålla upphovsrättens syfte och samhällets intresse. Digital musik har till viss del ersatt det traditionella Compact Disc (CD) formatet. Musikindustrin måste därför samarbeta med bland annat internetleverantörer för att ta till sig den digitala utvecklingen av musik och erbjuda bättre lösningar till konsumenter. För närvarade har den svenska befolkningen otillräckliga kunskaper inom upphovsrätt, varför mer utbildning behövs. Avslutningsvis, skulle marknadsföring och utbildning kunna bidra till en minskning av den illegala fildelningen och gynna alla parters intressen.

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Ferrer, Damian Llopis. "Technology support for teaching music to kindergarten children". Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509681.

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Kamara, II Kalilu. "Music Artists' Strategies to Generate Revenue Through Technology". ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5358.

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Music streaming services are increasing, compact discs (CDs) and digital download sales are declining, and many music artists are becoming affected by this positive shift in music technology. Music streaming revenue does not compensate for the decrease in revenue from CDs and paid downloads. Based on organizational configuration theory (OCT), the purpose of this multiple case study was to explore the technology and marketing strategies that small business music artists used to generate sales revenue from the Internet. Six small business music artists who were 18 years or older with different music revenue streams participated in semistructured interviews. These small business music artists provided detailed information on the technology and marketing strategies they used to generate sales revenue from the Internet. The data collection process for this study included semistructured interview data and participant observations. The data analysis process included methodological triangulation of the interview data and participant observation data to identify themes for the study. Seven themes identified were having a marketing budget, social media, recording studio sessions, digital distribution, SoundExchange, music licensing, and corporate sponsorships. These data may contribute to positive social change by helping small business music artists sustain operations in the music industry.

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Oleksik, Gerard. "Music in the age of the Internet : an investigation into the relationship between music, music use and technology". Thesis, University of Surrey, 2007. http://epubs.surrey.ac.uk/718/.

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Sideris, Nikolaos. "Music technology in contemporary concert hall music : Portfolio of musical compositions and accompanying commentary". Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531328.

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Rege, Karen M. "An examination of music technology requirements for undergraduate performance majors". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Più fonti

Libri sul tema "Music technology"

Hilvert, John. Music technology. North Mankato, Minn: Smart Apple Media, 2006.

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Newquist, H. P. Music & technology. New York: Billboard Books, 1989.

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Music technology. Cambridge: Cambridge University Press, 2011.

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Mazzola, Guerino, Yan Pang, William Heinze, Kyriaki Gkoudina, Gian Afrisando Pujakusuma, Jacob Grunklee, Zilu Chen, Tianxue Hu e Yiqing Ma. Basic Music Technology. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00982-3.

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Williams, David Brian. Experiencing music technology. 3^a ed. Belmont, CA: Cengage Learning, 2008.

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Williams, David Brian. Experiencing music technology. 3^a ed. Belmont, CA: Cengage Learning, 2008.

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Williams, David Brian. Experiencing music technology. 3^a ed. Belmont, CA: Thomson, Schirmer, 2006.

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Williams, David Brian. Experiencing music technology. 3^a ed. Belmont, CA: Thomson, Schirmer, 2006.

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Grandmont, John. Music and technology. [Toronto]: Ontario Ministry of Education, 1990.

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Fairholm, Brian. Classroom technology, music. [Victoria, BC]: Province of British Columbia, Ministry of Education, Resources Branch, 1990.

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Capitoli di libri sul tema "Music technology"

Smith, Neil, e Jenni Smith. "Music Technology". In Technology for SEND in Primary Schools: A Guide for Best Practice, 55–67. 1 Oliver's Yard, 55 City Road London EC1Y 1SP: Learning Matters, 2017. http://dx.doi.org/10.4135/9781529714470.n5.

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Mores, Robert. "Music Studio Technology". In Springer Handbook of Systematic Musicology, 221–58. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_12.

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Cornelius, Steven, e Mary Natvig. "Music and Technology". In Music a Social Experience, 293–308. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315222868-17.

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Cornelius, Steven, e Mary Natvig. "Music and Technology". In MusicA Social Experience, 333–53. 3^a ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-19.

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Fels, Sidney, e Michael Lyons. "Interaction and Music Technology". In Human-Computer Interaction – INTERACT 2011, 691–92. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23768-3_118.

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Cano, Estefanía, Christian Dittmar, Jakob Abeßer, Christian Kehling e Sascha Grollmisch. "Music Technology and Education". In Springer Handbook of Systematic Musicology, 855–71. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-55004-5_41.

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Stefanic, Nick. "The Music Technology Class". In The Learner-Centered Music Classroom, 161–81. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429261510-10.

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Cashman, David, e Waldo Garrido. "Technology and Live Performance". In Performing Popular Music, 144–57. [1.] | New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429505560-13.

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Datta, Asoke Kumar, Sandeep Singh Solanki, Ranjan Sengupta, Soubhik Chakraborty, Kartik Mahto e Anirban Patranabis. "Music Information Retrieval". In Signals and Communication Technology, 17–33. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3959-1_2.

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Reynolds, Nicholas. "Technology and Computers in Music and Music Education". In Key Competencies in the Knowledge Society, 333–43. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15378-5_32.

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Atti di convegni sul tema "Music technology"

Nusantara, Henri, Iwan Gunawan e Agus Budiman. "Music Technology". In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.005.

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Tóth-Bakos, Anita. "MUSIC EDUCATION AND MUSIC THERAPY". In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0135.

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Lassauniere, A., G. E. Tewkesbury, D. A. Sanders, J. Marchant e A. Close. "A new music technology system to teach music". In Proceedings 25th EUROMICRO Conference. Informatics: Theory and Practice for the New Millennium. IEEE, 1999. http://dx.doi.org/10.1109/eurmic.1999.794758.

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Calegario, Filipe, Giordano Cabral e Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.

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Tóth-Bakos, Anita, e Agáta Csehiová. "MUSIC AND BRAIN – MUSIC TRAINING TRANSFER". In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/inted.2016.0136.

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Liu, Jie, e Liang Liang. "The Application of Computer Music Technology in Music Education". In 2021 IEEE Asia-Pacific Conference on Image Processing, Electronics and Computers (IPEC). IEEE, 2021. http://dx.doi.org/10.1109/ipec51340.2021.9421234.

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Hyde, Joseph. "Tracing Music Technology to its Interdisciplinary Roots". In Rethinking the History of Technology-based Music. University of Huddersfield, 2022. http://dx.doi.org/10.5920/tracingmusic.

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Ruan Qionggang. "Application and research on digital music technology in music teaching". In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375272.

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Etinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation". In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.

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Music industry changes in the last decade largely shifted the music production tasks from big established studios to music artists. With the addition of online music streaming platforms, an end-to-end process of music creation, publishing, delivery, and consummation is achieved. This phenomenon emphasizes music artists as content creators to handle music production. Digital audio workstation systems enabled end users to compose, record, mix and master music. This research focuses on identifying the fit between various tasks music artists must perform during music creation and the technical characteristic of the tools used, particularly modern digital audio workstations. Ultimately, it is tested whether the task- technology fit (TTF), a well-established information systems theory model is a good predictor of the intention to use digital audio workstation systems by music artists. By applying the PLS-SEM method, results show that TTF positively influences music artists' intention to use DAWs.

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Cheng, Yun. "Music Information Retrieval Technology: Fusion of Music, Artificial Intelligence and Blockchain". In 2020 3rd International Conference on Smart BlockChain (SmartBlock). IEEE, 2020. http://dx.doi.org/10.1109/smartblock52591.2020.00033.

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Rapporti di organizzazioni sul tema "Music technology"

Nucera, Diana J., e Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, febbraio 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."

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Di Campli San Vito, Patrizia, Stephen Brewster, Satvik Venkatesh, Eduardo Miranda, Alexis Kirke, David Moffat, Sube Banerjee, Alex Street, Jorg Fachner e Helen Odell-Miller. RadioMe: Supporting Individuals with Dementia in Their Own Home... and Beyond? CHI '22 Workshop - Designing Ecosystems for Complex Health Needs, 2022. http://dx.doi.org/10.36399/gla.pubs.267520.

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Dementia is an illness with complex health needs, varying between individuals and increasing in severity over time. Approaches to use technology to aid people with dementia are often designed for a specific environment and/or purpose, such as the RadioMe system, a system designed to detect agitation in people with mild dementia living in their own home and calming them with music when agitation is detected. Both the monitoring and intervention components could potentially be beneficially used outside of the own home to aid people with dementia and carers in everyday life. But the adaptation could put additional burdens on the carer, as many decisions and the handling of the data and software could rely on their input. In this paper we discuss thoughts on the potential role of the carer for adaptations of specified system’s expansion to a larger ecosystem on the example of RadioMe.

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn e Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], luglio 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.

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McIntyre, Phillip, Susan Kerrigan e Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

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