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Tesi sul tema "Music technology and recording"
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1
Miller, Eric R. "The Influence of Recording Technology on Music Performance and Production". Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367581047.
Testo completo
2
Sztein, Baremberg Gabriella Ana. "Musical time and recording technology: A perspective from music theory". Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.
Testo completoAbstract (sommario):
This thesis deals with two categories of musical time, concrete and subjective, and the effect of recording technology on musical time. Concrete musical time can be measured in an objective way, for example, through reference to standards of time external to the listener, such as clocks. Subjective musical time refers to the musical time that cannot be measured objectively: it depends entirely on the listener who experiences the musical work. It is my conclusion that recording technology affects the concrete aspect of musical time, but not the subjective one. Chapter one defines the relationship between time and different forms of art, as well as the relationship between time and music. Chapter two defines concrete and subjective musical time. Chapter three discusses recording technology and the changes it imposes on the musical aesthetic ritual. By musical aesthetic ritual, I mean the agreed-upon physical actions which are related to the activities involving music and the experience of music. Chapter four explains the influence of recording technology on certain musical aesthetic ideas such as the reproduction of music, the completeness of the musical work, and the temporality of the musical work. Chapter five presents my conclusions with regards to the influence of recording technology on concrete and subjective musical time.
3
Meynell, Anthony. "How recording studios used technology to invoke the psychedelic experience : the difference in staging techniques in British and American recordings in the late 1960s". Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/3837/.
Testo completoAbstract (sommario):
This thesis focuses on a time in the mid-1960s where practice in the studio changed from a formal arena where previously rehearsed songs were recorded, to a playground where sonic possibilities were explored and sound manipulation became normal practice. This abuse of technology and manipulation of reality became part of the creative process in the studio, providing soundscapes that resonated with the counter-cultural ethos of upsetting the established order, and were adopted by the mainstream during the 1967 ‘Summer of Love”. Following a discussion of current literature, practice as research is applied to demonstrate how interaction with historical technology reveals the performative nature of the tacit knowledge that created many of the aural effects under consideration. The research then focuses through the prism of two case studies, “Eight Miles High” recorded by The Byrds in Los Angeles in January 1966, and “Rain”, recorded by The Beatles in London in April 1966. Through re-enactment of these historical recording sessions, I recreate the closed envirnment of the 1960’s recording studio. By interacting with historical technology and following a similar structure to the original sessions, I investigate how the methodology was influenced by collaborative actions, situational awareness and the demarcation of roles. Post session video analysis reveals the flow of decision making as the sessions unfold, and how interaction with the technological constraints recreates ‘forgotten’ techniques that were deemed everyday practice at the time and were vital to the outcome of the soundscapes. The thesis combines theory and practice to develop an understanding of how the engineers interacted with technology (Polanyi, 1966), often abusing the equipment to create manipulated soundscapes (Akrich and Latour, 1992), and how the sessions responded to musicians demanding innovation and experimentation, circumventing the constraints of established networks of practice (Law and Callon, 1986) during the flow of the recording session (Ingold, 2013).
4
Lingard, William. "Sounds perfect : the evolution of recording technology and music's social future". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367009/.
Testo completoAbstract (sommario):
The effect of technology on music has been indisputably profound. As a cultural descendant of the traditions first established by notation and printing, recorded music technology has transformed our understanding and use of music in all sorts of ways. Whether or not different technologies have had a positive or negative effect, however, is a subject of much debate. Traditional histories of recorded music technology demonstrate a tendency either to treat each new platform as truly revolutionary, or to elide the differences between them to such an extent that significant socio-cultural and socio-economic transformations become occluded. Revisiting this history with an open mind—and a degree of cultural and temporal distance—permits a perspective of progression, from which the ramifications of recorded music technologies become more accurately discernible. This thesis highlights six characteristics of recorded music, all of which have been affected at various times and in various ways by the evolution of recording technology. Without exception, every new platform for recorded music has improved upon at least one of these six characteristics, although not necessarily without detriment to one of the others. It is in the scope of these improvements that digital music files, as a platform, are fundamentally different to any of their predecessors. Far from simply continuing or exaggerating the trend that forms the customary narrative of the traditional histories of recorded music, digital music files have completely reengineered our relationship with and understanding of the production, distribution, and consumption of music in a very profound way. The thesis explores these changes, and offers some frank yet ultimately encouraging insights as to what the social future of music may hold.
5
Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.
Testo completo
6
Lapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.
Testo completoAbstract (sommario):
This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).
7
Yee, Silvia. "The absent ear, a phenomenological investigation into the confluence of recording technology and musical listening". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22561.pdf.
Testo completo
8
Van, Dyne Steven R. "Case Studies in Classical Location Recording Using Improvised Techniques". Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429807114.
Testo completo
9
Thorley, Mark. "The unexplored impact of emergent technologies on music industry stakeholders : aspirants, producers and consumers". Thesis, Coventry University, 2016. http://curve.coventry.ac.uk/open/items/42e3ee1b-3756-494c-9f5d-adec1b485be2/1.
Testo completoAbstract (sommario):
This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from the Higher Education Academy (HEA) focussing on the use of emergent technology to develop music producers’ expertise. The work therefore represents a cohesive but diverse set of outputs, and is reflective of the technologically-driven nature of the creative industries, and the multidisciplinary experience of the author.
10
Mok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.
Testo completoAbstract (sommario):
This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition.
The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969.
The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.Music
11
Anthony, Brendan. "‘The Stairways to Mixing Heaven’: Designs for the Optimisation of Creative Mixing Practices in Popular Music Record Production". Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367706.
Testo completoAbstract (sommario):
As music technology ever develops, so too the creative practices and sonic outcomes of popular music productions evolve in response. This project therefore investigates the ways in which user-led system design informs the author’s practice as a recording studio mix engineer and as co-creator of popular music recordings.
The dissertation details a two-year study into the Stairways mixing preparation framework developed by the author. Stairways will be tested for its suitability to design personalised mixing systems with a view to achieving optimum creative results for various musical styles. The study documents the creation of mixes for eight original pieces of music, as written by six artists /bands, and where this development has been traced to provide a number of interpretations as 18 tracks on an accompanying CD portfolio. This compares the original artist ‘rough’ mixes with further insights into the application of digital and hybrid analogue systems.
This project is situated within the field of professional practice and therefore draws upon a range of literature including scholarly texts, trade magazines, popular music press, practitioner interviews and weblogs. A mixed method research design employs the author’s multi-decade experience as a mix professional and educator via a practice-based approach to detail the processes involved in the creation of the original music in question. This is situated within three action research cycles that progress the design by detailing the insights gained from each recording session as they progress over time and where various emergent sonic and creative phenomenon are examined. The dissertation is supported by a detailed series of appendices to present technical approaches, reflective journal entries and philosophical considerations for how to approach a given mix.Thesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
Full Text
12
Fuchs, Adriaan. "In search of the "true" sound of an artist : a study of recordings by Maria Callas". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17355.
Testo completoAbstract (sommario):
Thesis (M. Phil. (Music Technology)) -- University of Stellenbosch, 2006.ENGLISH ABSTRACT: Modern digital signal processing, allowing a much greater degree of flexibility in audio processing and therefore greater potential for noise removal, pitch correction, filtering and editing, has allowed transfer and audio restoration engineers a diversity of ways in which to “improve” or “reinterpret” (in some cases even drastically altering) the original sound of recordings. This has lead to contrasting views regarding the role of the remastering engineer, the nature and purpose of audio restoration and the ethical implications of the restoration process. The influence of audio restoration on the recorded legacy of a performing artist is clearly illustrated in the case of Maria Callas (1923 - 1977), widely regarded not only as one of the most influential and prolific of opera singers, but also one of the greatest classical musicians of all time. EMI, for whom Callas recorded almost exclusively from 1953 - 1969, has reissued her recordings repeatedly, continually adapting their sound “to the perceived preferences of the record-buying public” (Seletsky 2000: 240). Their attempts at improving the sound of Callas’s recordings to meet with the sonic quality expected of modern recordings, as reissued in the latest releases that form part of EMI’s Callas Edition, Great Recordings of the Century (GROTC) and Historical Series, have resulted in often staggeringly different reinterpretations of the same audio material that bear no resemblance to previous CD or LP incarnations or “evince no consolidated conviction about exactly how Callas’s voice should sound.” In essence, some commentators argue that the “Callas sound” we hear on recent CD releases is not necessarily exactly as the great diva might have sounded. The purpose of this study is to consider the influence of audio restoration and remastering techniques on the recorded legacy of Callas, by illustrating the sometimes startlingly different ways in which her voice has been made to sound, examining and comparing the way in which different remasterings of the same audio material can vary in quality, as well as demonstrating how vastly different sonic reinterpretations of a single recording can affect our perception of an artist’s “true” sound. To this end, various reissues of six different complete opera recordings, including four studio recordings: Tosca (1953), Lucia di Lammermoor (1953), Norma (1954), Madama Butterfly (1955), as well as two “live” performances of Macbeth (1953) and La Traviata (1958), have been evaluated and compared, using the “true” sound of Callas’s voice as reference in comparing the different remasterings. Pitch and frequency spectrum analysis was used to confirm or support any subjective claims and observations and further analysis performed with the aid of a specialised Matlab algorithm.
AFRIKAANSE OPSOMMING: Moderne digitale seinprossesering bied kragtige en veelsydige moontlikhede vir die verwerking van klankseine. Die groter potensiaal vir ruisverwydering, toonhoogte verstelling, filtrering en redigering van opnames bied klankingenieurs ‘n wye verskeidenheid van maniere om die oorspronklike klank van opnames te verbeter, te interpreteer en soms ingrypend te verander. Dit het aanleiding gegee tot teenstrydige en uiteenlopende menings oor die funksie van die klankrestourasie-ingenieur, die aard en doel van klankrestourasie en die etiese gevolge van die restourasieproses. Die invloed van klankrestourasie op die klanknalatenskap van ‘n uitvoerende kunstenaar kan duidelik bestudeer word in die geval van Maria Callas (1923 – 1977), algemeen aanvaar as een van die mees invloedryke en grootse klassieke musici van alle tye. Die platemaatskappy EMI, vir wie Callas feitlik uitsluitlik vanaf 1953 tot 1969 opgeneem het, het haar klankopnames reeds verskeie kere heruitgereik en die klank daarvan deurlopend aangepas om aanklank te vind by die “veronderstelde voorkeure van die publiek” (Seletsky 2000: 240). EMI se pogings om die klank van Callas se opnames te verbeter om aan die klankvereistes van moderne opnames te voldoen, het ontaard in dikwels aangrypend verskillende interpretasies van dieselfde audio materiaal wat geen ooreenkomste toon met vorige laserskyf of langspeelplaat uitgawes nie, asook “geen vasgestelde oortuigings openbaar oor hoe Callas se stem presies moet klink nie.” Sommige critici argumenteer dat die “Callas klank” wat ons op hedendaagse CD uitgawes hoor, nie noodwendig klink soos wat Callas werklik geklink het nie. Die doel van hierdie studie is om die invloed van klankrestourasie op die klanknalatenskap van Callas te bestudeer deur die verskillende wyses waarop die klank van haar stem aangepas is te illustreer, die verskille in klankkwaliteit tussen verskillende uitgawes van dieselfde materiaal te ondersoek en te vergelyk, asook te demonstreer hoe uiteenlopend verskillende interpretasies van ‘n enkele opname die persepsie van ‘n kunstenaar se “ware” klank kan affekteer. Vir hierdie doel is verkeie uitgawes van ses verskillende volledige opera opnames, insluitend vier studio opnames van onderskeidelik Tosca (1953), Lucia di Lammermoor (1953), Norma (1954) en Madama Butterfly (1955), asook twee “lewendige” opnames van Macbeth (1952) en La Traviata (1958) bestudeer deur Callas se “ware” klank as maatstaf te gebruik om die onderskeie opnames te vergelyk. Toonhoogte- en frekwensie spektrum analise, asook analise deur middel van ‘n gespesialiseerde Matlab algoritme, is deurlopend gebruik om enige subjektiewe gevolgtrekkings en waarnemings te staaf.
13
Watson, Allan. "Sound practice : a relational economic geography of music production in and beyond the recording studio". Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.
Testo completoAbstract (sommario):
This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.
14
Surber, Greg A. "Record Progressions: Technology and its Role in the Development and Dissemination of Jazz". Ohio University Honors Tutorial College / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1258571630.
Testo completo
15
Burchfield, Rebekah Lynn. "Pressed between the Pages of My Mind: Tangibility, Performance, and Technology in Archival Popular Music Research". Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.
Testo completo
16
Bowsher, Andrew John. "Authenticity and the commodity : physical music media and the independent music marketplace". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a421adac-1d86-4351-8778-6e16e1744513.
Testo completoAbstract (sommario):
This thesis examines the circulation of physical music media (78rpm records, LPs, CDs, tape) in the independent music marketplace. It is based on six months of ethnographic fieldwork in Austin, Texas, amongst the producers of goods for the independent marketplace, independent music stores and consumers of these goods and services. Against prevailing constructivist interpretations, I will argue for the value of authenticity as an analytical anthropological concept because it unites what my research participants value about materiality, technology, and marketplace relationships. In the independent marketplace for physical music media, authenticity is a multi-local, multi-vocal phenomenon. A nexus of economic rationales, design, reproduction-technologies, histories and personal conduct interact in an ongoing process that authenticates music commodities and their marketplace. This means that particular commodities are sought out over others on account of the multi-local authenticities they anchor. The thesis firstly demonstrates how the independent music scene safeguards claims to authentic identities by constructing an opposition to the mainstream, drawing on discourses of ethical production and consumption, sound technologies, spaces of consumption and cultural production. Secondly, I will uncover how physical music media and sound-reproduction technologies are assessed as effective providers of authentic musical reproductions according to their historical contingencies and performative material capacities. Thirdly, I develop the notion of the scene (Shank 1994) from its previously genre-fixed perspective to encompass multiple musical styles operating within a common social network of producers, retailers and collectors. The pluralistic scene I describe utilises multiple musical genres and nuanced notions of materiality and authenticity to establish their complex hierarchy of sonic and technological experiences.
17
Nozaic, Claire. "An introduction to audio post-production for film". Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
Testo completoAbstract (sommario):
Thesis (M.Mus.)--University of Stellenbosch, 2006.ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application.
AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.
18
Latson, Christopher Craig. "Contemporary Pirates: An Examination of the Perceptions and Attitudes Toward the Technology, Progression, and Battles that Surround Modern Day Music Piracy in Colleges and Universities". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4595/.
Testo completoAbstract (sommario):
The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.
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Hill, Christopher. "The anarchist's jukebox? a historical account of the file sharing conflict : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts (Communication Studies), Auckland University of Technology, 2005". Full thesis. Abstract, 2005.
Cerca il testo completoAbstract (sommario):
Thesis (MA--Communication Studies) -- Auckland University of Technology, 2005.Chapter 5 not included in e-thesis. Also held in print (viii, 177 leaves, 30 cm.) in Wellesley Theses Collection. (T 338.4778149 HIL)
20
Jones, Richard Earl. "Keep it Local: Music Streaming & Local Music Communities". Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1512137210213619.
Testo completo
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Kelly, Caleb, e n/a. "Cracked and Broken Media in 20th and 21st Century Music and Sound". University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20070601.135617.
Testo completoAbstract (sommario):
From the mid 20th century into the 21st, artists and musicians manipulated,
cracked and broke audio media technologies to produce novel, unique and
indeterminate sounds and performances. Artists such as John Cage, Nam June
Paik, Milian Kn��k, Christian Marclay, Yasunao Tone, Oval and Otomo
Yoshihide pulled apart the technologies of music playback, both the playback
devices � phonographs and CD players � and the recorded media � vinyl records
and Compact Discs. Based in the sound expansion of the 20th century musical
avant garde, this practice connects the interdisciplinary Fluxus movement with
late 20th century sound art and experimental electronic music. Cracked and
broken media techniques play a significant role in 20th century music and sound,
and continue to be productive into the 21st. The primary contribution of this
thesis is to provide a novel and detailed historical account of these practices. In
addition it considers theoretical approaches to this work. After considering
approaches through critiques of recording media, and concepts of noise, this
thesis proposes novel theorisations focusing on materiality and the everyday.
Ultimately it proposes that these practices can be read as precursors to
contemporary new media, as music and sound art cracked open the fixed
structures of �old media� technologies for their own creative purposes.
22
Klein, Eve Elizabeth. "The pomegranate cycle : reconfiguring opera through performance, technology & composition". Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/51175/1/Eve_Klein_Thesis.pdf.
Testo completoAbstract (sommario):
The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer.
During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. Consequently, the canon’s historic representations of gender remain unchallenged. Historically and contemporarily, men have almost exclusively occupied the roles of composer, conductor, director and critic, and therefore men have regulated the pedagogy, performance practices, repertoire and organisations that sustain classical music. In this landscape, women are singers, and few have the means to challenge the constructions of gender they are asked to reproduce. The Pomegranate Cycle uses recording technologies as the means of driving change because these technologies have already challenged the regulation of the classical tradition by changing people’s modes of accessing, creating and interacting with music.
Building on the work of artists including Phillips and van Veen, Robert Ashley and Diamanda Galas, The Pomegranate Cycle seeks to broaden the definition of what opera can be. This work examines the ways in which the operatic tradition can be hybridised with contemporary musical forms such as ambient electronica, glitch, spoken word and concrete sounds as a way of bringing the form into dialogue with contemporary music cultures. The ultilisation of other sound cultures within the context of opera enables women’s voices and stories to be presented in new ways, while also providing a point of friction with opera’s traditional storytelling devices.
The Pomegranate Cycle simulates aesthetics associated with Western art music genres by drawing on contemporary recording techniques, virtual instruments and sound-processing plug-ins. Through such simulations, the work disrupts the way virtuosic human craft has been used to generate authenticity and regulate access to the institutions that protect and produce Western art music. The DIY approach to production, recording, composition and performance of The Pomegranate Cycle demonstrates that an opera can be realised by a single person. Access to the broader institutions which regulate the tradition are not necessary. In short, The Pomegranate Cycle establishes that a singer can be more than a voice and a performing body. She can be her own multimedia storyteller. Her audience can be anywhere.
23
Malhão, Rafael da Silva 1982. "Uma ecologia dos meios tecnológicos dos DJs de música eletrônica de pista : habilidades, percepção e corpo". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279732.
Testo completoAbstract (sommario):
Orientador: Pedro Peixoto FerreiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A presente dissertação tem como objeto e objetivo central compreender o processo tecno-genético de formação dos DJs de Música Eletrônica de Pista (MEP) para uma atuação efetiva frente a uma pista de dança. Para dar conta da tarefa que me propus dediquei-me a analisar este processo a partir de três de abordagens distintas, a saber, tecnologia, técnica e habilidade, que assumem dinâmicas relacionais diferentes que dependem do objetivo e combinação estabelecida entre elas, e a partir destes diferentes cenários relacionais estas combinações orientam ritmos específicos de interação entre humanos e máquinas. Estas combinações e ritmos foram o núcleo para a análise mais profícuo identificado para explorar o DJ como conceito e prática no âmbito da MEP. Estas três abordagens visam desdobrar as questões relativas a cada tópico supracitado e a integração destas abordagens se dá por meio de uma experiência estética não contemplativa. A primeira abordagem tem como preocupação central as diferentes formas em que a tecnologia de reprodução sonora foi relevante para MEP e visa constituir uma base material da mudança tecnológica para as discussões abordadas subsequentemente. A segunda abordagem parte desta base tecnológica a fim de apresentar as possíveis formas de constituição das habilidades, das técnicas e do corpo por meio da atuação sinérgica para fins comuns entre DJs e tecnologias de reprodução sonora. A terceira abordagem se vale das duas anteriores para tentar compreender a relação que se estabelece entre estes modos tecnológicos e técnicos de formação das habilidades e percepção que contribuem na forma de interação entre DJs e pista de dança, atendo-se principalmente, nas potencialidades e especificidades de uma proposta tecno-estética que busca escapar da passividade contemplativa na relação entre público e executores de atos estéticos. Este percurso se fez necessário para a compreensão do papel das tecnologias na formação dos sentidos e das ações a eles correspondentes durante o processo de aprendizado das técnicas sendo elas de discotecagem ou modos de dança. Por fim, identifico, assim como alguns autores que perpassam o texto, que o modo de percepção, bem como o corpo que percebe ? e todas as implicações desta situação ? não são dados a priori, e sim, se constituem ao longo das diferentes interações com o ambiente e com a tecnologia. E que uma abordagem estética que privilegie a experiência estética mediada por objetos que não são necessariamente estéticos, mas objetos que possibilitam diferentes reticulações do espaço e do tempo por meio do seu modo de manipulação e inserção em contextos específicos foi a maneira mais interessante para descrever a relação entre DJs, tecnologias e pista de dança
Abstract: The aim of this study is to understand the techno-genetic process of the development of Electronic Dance Music (EDM) DJs in an effective performance in the dance floor. To be able to accomplish this task I analyse the process from three distinct approaches, namely technology, techniques, and skills that assume different relational dynamics depending on the goal and the combination stabilished among them, and from those different relational scenaries those combinations orient toward specific rhythms of interaction between mankind and machines.These combinations and rhythms were the most proficuous nucleous to the analysis, identified to explore the DJ as concept and practise in EDM. Those three approaches are to unfold the issues regarding each topic above mentioned and the integration of the approaches happens through a non-contemplative aesthetic experience. The first approach aims the different ways sound reproduction technology was relevant to EDM and intends to build a material base of technological change to the discussions subsequently dealt. The second approach derives from said technological base in order to present the possible ways of developing skills, techniques, and body by the synergic movement to common goals between DJs and sound reproduction technology. The third approach derives from the first two aiming to understand the relation stablished among the technological ways and the techniques to form the skills and perceptions that contribute the way of interaction between DJs and the dance floor. It focuses mainly in potencialities and specificity of the techno-aesthetic proposal that tries to scape from contemplative passivity in the relation between the audience and the performer of aesthetic acts. All this process was needed to understand the role the technologies play in the formation of senses and actions corresponding to them during the technique learning process of either DJing or dance moves. Consequently, I identified, as well as some autors who perpassed the text, the fact that the way of perception and the body that perceives and also all implications of this situation are not given a priori, and that way, are constituted during the different interactions with the environment and technology. Also an aesthetic approach that previleges the aesthetic experience mediated by objects not necessarily aesthetic, but objects with different reticulations of the space and the time through their form of manipulation and inserction in specific contexts was the most interesting way to describe the relation between DJs, technologies, and dance floor
Mestrado
Sociologia
Mestre em Sociologia
24
Lorenzi, Graciano. "Compor e gravar músicas com adolescentes : uma pesquisa-ação na escola pública". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10549.
Testo completoAbstract (sommario):
Este estudo investiga processos de composição musical vinculados ao registro sonoro e à produção de um CD: Como o uso de registros sonoros se coaduna aos processos composicionais coletivos? Quais as implicações de compor e gravar músicas com adolescentes? Como os adolescentes desencadeiam processos composicionais quando os objetivos estão voltados para a produção de um CD? A pesquisa foi realizada com um grupo de 10 adolescentes, no âmbito de uma Oficina oferecida como atividade extracurricular numa escola da rede pública municipal em Gravataí-RS. O referencial teórico apoiou-se em dois eixos: composição musical na educação musical (SANTOS, 1994; SWANWICK, 1979; McDONALD e MIELL, 2000; FAUTLEY, 2004) e música e tecnologias (IAZZETTA, 1996, 1997, 2001; RODRIGUES, 2002 e CARVALHO, 1999). A metodologia adotada foi a pesquisaação na concepção de Pesquisa-Ação Integral (PAI) de André Morin. Entre as principais conclusões está a de que os processos composicionais constituíram-se para além de estruturações musicais, sendo constantemente permeados pelo conjunto de inter-relações sócio-afetivas do grupo. O registro das composições favoreceu o feedback auditivo para os adolescentes, podendo dessa forma, estabelecer novas referências estéticas de percepção musical sobre as próprias composições. Além disso, a produção do CD se configurou como um resultado tangível do fazer musical do grupo, no qual a identidade coletiva e a individual se fundiram.This study investigates the processes of musical composition linked to the sound record and the production of a CD: how do the use of sound records join to collective compositional processes? What are the implications of composing and recording musics with adolescents? How do they develop compositional processes when the objectives are focused on the production of a CD? The research was carried out on a group of 10 adolescents, in a workshop offered as an extra class activity in a public school in the municipality of Gravataí, RS. The theoretical framework was supported in two axes: musical composition in the musical education (SANTOS, 1994; SWANWICK, 1979; McDONALD e MIELL, 2000; FAUTLEY, 2004) and music and technologies (IAZZETTA, 1996, 1997, 2001; RODRIGUES, 2002 e CARVALHO, 1999). The method of investigation was the action research in the view of André Morin’s Integral Action Research. Among the principal conclusions, it is that the compositional processes resulted beyond the musical structures, being constantly surrounded by a social-affective inter-relations set of the group. The recording of the compositions supported the auditory feedback to the adolescents, becoming possible to them, this way, to set up new aesthetic references of musical understanding about their own compositions. Moreover, the CD production became a tangible result of music making of the group, in which the collective and individual identity fused together.
25
Lorenzi, Graciano. "Compondo e gravando músicas com adolescentes : uma pesquisa-ação na escola pública". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10549.
Testo completoAbstract (sommario):
Este estudo investiga processos de composição musical vinculados ao registro sonoro e à produção de um CD: Como o uso de registros sonoros se coaduna aos processos composicionais coletivos? Quais as implicações de compor e gravar músicas com adolescentes? Como os adolescentes desencadeiam processos composicionais quando os objetivos estão voltados para a produção de um CD? A pesquisa foi realizada com um grupo de 10 adolescentes, no âmbito de uma Oficina oferecida como atividade extracurricular numa escola da rede pública municipal em Gravataí-RS. O referencial teórico apoiou-se em dois eixos: composição musical na educação musical (SANTOS, 1994; SWANWICK, 1979; McDONALD e MIELL, 2000; FAUTLEY, 2004) e música e tecnologias (IAZZETTA, 1996, 1997, 2001; RODRIGUES, 2002 e CARVALHO, 1999). A metodologia adotada foi a pesquisaação na concepção de Pesquisa-Ação Integral (PAI) de André Morin. Entre as principais conclusões está a de que os processos composicionais constituíram-se para além de estruturações musicais, sendo constantemente permeados pelo conjunto de inter-relações sócio-afetivas do grupo. O registro das composições favoreceu o feedback auditivo para os adolescentes, podendo dessa forma, estabelecer novas referências estéticas de percepção musical sobre as próprias composições. Além disso, a produção do CD se configurou como um resultado tangível do fazer musical do grupo, no qual a identidade coletiva e a individual se fundiram.This study investigates the processes of musical composition linked to the sound record and the production of a CD: how do the use of sound records join to collective compositional processes? What are the implications of composing and recording musics with adolescents? How do they develop compositional processes when the objectives are focused on the production of a CD? The research was carried out on a group of 10 adolescents, in a workshop offered as an extra class activity in a public school in the municipality of Gravataí, RS. The theoretical framework was supported in two axes: musical composition in the musical education (SANTOS, 1994; SWANWICK, 1979; McDONALD e MIELL, 2000; FAUTLEY, 2004) and music and technologies (IAZZETTA, 1996, 1997, 2001; RODRIGUES, 2002 e CARVALHO, 1999). The method of investigation was the action research in the view of André Morin’s Integral Action Research. Among the principal conclusions, it is that the compositional processes resulted beyond the musical structures, being constantly surrounded by a social-affective inter-relations set of the group. The recording of the compositions supported the auditory feedback to the adolescents, becoming possible to them, this way, to set up new aesthetic references of musical understanding about their own compositions. Moreover, the CD production became a tangible result of music making of the group, in which the collective and individual identity fused together.
26
Goh, Man-fat Joseph. "Music retailing in Hong Kong /". [Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13731105.
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Hensley, Lincoln. "Investigating Early Bluegrass Recording Techniques". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/597.
Testo completoAbstract (sommario):
This paper is about my investigation of early bluegrass recording techniques and the processes they used. After doing some extensive research, and compiling a database of black and white photographs from the time period, I felt I had enough information to assemble a team to try and produce the sounds, tonal qualities, and energy those recordings have. So John Kornhauser, Joshua Gooding, Hunter Berry, Sarah Griffin, along with myself, went to BigTone studios and tracked for two four hour sessions. BigTone studios has all of the vintage microphones, tape recorders, echo chambers, and out board equipment I need to replicate the same signal chain that was used on the early recordings. After the recording process, I mixed and mastered the songs to match the early recordings as closely as possible. We also recorded one song at ETSU’s studio that was all digital with new equipment to show the differences in the sound of analog versus digital recording. I have included both so that you can listen to each and determine for yourself if there is an audible difference, and if that difference is worth pursuing.
28
Lefford, M. Nyssim 1968. "Recording studios without walls : geographically unrestricted music collaboration". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/62095.
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Curran, Terence William. "Recording classical music in Britain : the long 1950s". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2340cf56-c2be-4c0b-b5a6-2cfe06c22fe4.
Testo completoAbstract (sommario):
During the 1950s the experience of recording was transformed by a series of technical innovations including tape recording, editing, the LP record, and stereo sound. Within a decade recording had evolved into an art form in which multiple takes and editing were essential components in the creation of an illusory ideal performance. The British recording industry was at the forefront of development, and the rapid growth in recording activity throughout the 1950s as companies built catalogues of LP records, at first in mono but later in stereo, had a profound impact on the music profession in Britain. Despite this, there are few documented accounts of working practices, or of the experiences of those involved in recording at this time, and the subject has received sparse coverage in academic publications. This thesis studies the development of the recording of classical music in Britain in the long 1950s, the core period under discussion being 1948 to 1964. It begins by considering the current literature on recording, the cultural history of the period in relation to classical music, and the development of recording in the 1950s. Oral history informs the central part of the thesis, based on the analysis of 89 interviews with musicians, producers, engineers and others involved in recording during the 1950s and 1960s. The thesis concludes with five case studies, four of significant recordings - Tristan und Isolde (1952), Peter Grimes (1958), Elektra (1966-67), and Scheherazade (1964) - and one of a television programme, The Anatomy of a Record (1975), examining aspects of the recording process. The thesis reveals the ways in which musicians, producers, and engineers responded to the challenges and opportunities created by advances in technology, changing attitudes towards the aesthetics of performance on record, and the evolving nature of practices and relationships in the studio. It also highlights the wider impact of recording on musical practice and its central role in helping to raise standards of musical performance, develop audiences for classical music, and expand the repertoire in concert and on record.
30
Wadsworth, Peter James. "Strawberry Recording Studios and the development of recording studios in Britain c.1967-93". Thesis, University of Manchester, 2007. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:86691.
Testo completoAbstract (sommario):
This thesis studies the development of the British recording studio from the mid-1960s to the early-1990s. Although there are now a growing number of academic studies of popular music they have, so far, largely failed to study the evolving process by which artists were able to reproduce their music for mass distribution. Consequently, this dissertation investigates the image portrayed of the studio and its utilisation and representation by a combination of human, technological and locational factors. The first part of the thesis constructs an overview of the recording studio industry, as based on contemporary trade journals, in order to produce a traditional historical narrative, so far absent from music’s historiography, which provides the framework in which to place more detailed research. The prominence given by the industry to the ‘progress of technology’ is then compared to the public perception of the recording studio, as shown by the extent and content of its inclusion in the popular culture media of the period, both print and film based. How far the process of producing recorded music managed to permeate through the presentation of a music industry that was becoming increasingly reliant on the image and personality of the artists themselves is then analysed. The second part of the thesis is based on Latour’s concept of actor-networks and deconstructs the recording studio into three main components; technology, architecture and the human element within it. Using one particular studio (Strawberry Recording Studios in Stockport) as being representative of the increasing proportion of small independents in the industry, the further deconstruction of these three components into their constitutional networks, provides the key theme of the dissertation. Consequently, studio technology can be viewed not simply in terms of functional machinery in the studio setting (of Latourian ‘black boxes’) but more as a confusing and intrusive element that was developed, shaped and created by the requirements of those in the studio. And, whilst contemporary society has always elevated the status of the performer in the music industry, the human element in the studio can also be shown to comprise the industrial and social interaction between a wide range of support staff, whose roles and importance altered over time, and the artists themselves. Finally, studio buildings were not just backdrops to the work taking place in them but were seen to extend their boundaries and influence beyond their immediate location through their architecture, interior design and geography. In other words, the recording studio might be seen as the combination of a number of fluctuating networks rather than just as a passive element in the production of recorded music. As a result of the content of the subject being studied, this thesis utilises a number of sources that, in Samuel’s terminology, moves the study away from a ‘fetishization’ of the traditional historical archive towards those of ‘unofficial learning’. Given the immediacy of the period being studied, the personal accounts of those involved in the studio, mainly through the use of oral history, form a major part of the research material.
31
Martin, Bryan. "Two projects in sound recording involving underground rock music". Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61248.
Testo completoAbstract (sommario):
This thesis explores the sound recording aspects encountered on the creation of an album containing Rock music. It follows each project from the recording of the basic tracks through the final album mixes. Microphone technique, signal processing, studio setup, and instrument selection are also dealt with. This thesis documents two separate recording projects.
32
Foreman, Lewis. "English music 1860-1960 : its reception, revival and recording". Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/54335/.
Testo completoAbstract (sommario):
This submission, under the regulations for PhD by published works, consists of fifty articles by the author, together with the second edition of the book Bax: a composer and his times. These are presented in facsimile in three volumes together with a supporting essay and personal bibliography. The subject is the reception of British music, with special emphasis on the first half of the twentieth century. Three broad themes are considered: general and local musical histories, studies of recording and broadcasting, and the discussion of specific genres and specific works of British composers from the period. Specific composers include Sir Arnold Bax (1883-1953), Sir Granville Bantock (1868-1946), Sir Arthur Bliss (1891-1975), Benjamin Britten (1913-1976), Alan Bush (1900-1995), Frederick Delius (1862-1934), Thomas F Dunhill (1877-1946), Sir Edward Elgar (1857-1934), Berthold Goldschmidt (1903-1996), Trevor Hold (1939-2004), Sir Michael Tippett (1905-1998), Ralph Vaughan Williams (1872-1958), Sir William Walton (1902-1983) and Peter Warlock (Philip Heseltine) (1894-1930). The over-riding theme is the reception, performance history and promotion of new music by British composers in the first half of the twentieth century, and the roots of the musical life in the in the nineteenth century. Notable concerns are the role of recording, broadcasting, the press, and the impact of composer trusts in promoting the music of specific composers. The BBC Written Archives at Caversham have been the principal source, and the central role of the BBC is one of the major concerns. The nature of 'Englishness' in music (including the importance of English literature, folksong and landscape) is another, as is the impact of contemporary events, significantly the two world wars. British music is set in context by reference to wider subjects, such as the second Vienna School including Anton Webern, the conductor Oskar Fried, and the emigre composers who settled in England before and during the Second World War.
33
Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.
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Murray-Noel, Jeanelle Lemol. "Small Business Profitability Strategies in the Music Recording Industry". ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/6072.
Testo completoAbstract (sommario):
With the rise of digital technologies, consumers can stream music content, which has made it more difficult for music companies to be profitable. Small business owners in the music recording industry in the West Indies have found this trend particularly challenging, affecting their profitability. This multiple case study explored the adoption of disruptive technologies by small business owners in the music recording industry to increase profitability. The research population included 5 small business owners in the music recording industry in the West Indies who successfully adapted to the changes in the industry's business model and whose businesses are profitable. Christensen's theory of disruptive innovation served as the conceptual framework for this study. Data from face-to-face, semistructured, in-depth interviews, observations, and analysis of internal company documents were collected and triangulated. Within-case analysis was used to understand the general meaning of the participants' responses. Each case was described and themes were identified. Cross-case analysis was used to compare the 5 case descriptions and identify 5 cross-cutting themes. These 5 themes included focus on live performances, focus on marketing and building a brand, adopt innovations in all functions of the business, diversify income streams, and adopt vertical integration strategies. The implications for positive social change include the potential to increase the profitability of small businesses in the recording industry in the West Indies by sharing the strategies emerging from the study. Profitable businesses can lead to improved livelihoods of the small business owners and their families.
35
Sun, Hyojung. "Digital disruption in the recording industry". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23631.
Testo completoAbstract (sommario):
With the rise of peer-to-peer software like Napster, many predicted that the digitalisation, sharing and dematerialisation of music would bring a radical transformation within the recording industry. This opened up a period of controversy and uncertainty in which competing visions were articulated of technology-induced change, markedly polarised between utopian and dystopian accounts with no clear view of ways forwards. A series of moves followed as various players sought to valorise music on the digital music networks, culminating in an emergence of successful streaming services. This thesis examines why there was a mismatch between initial predictions and what has actually happened in the market. It offers a detailed examination of the innovation processes through which digital technology was implemented and domesticated in the recording industry. This reveals a complex, contradictory and constantly evolving landscape in which the development of digital music distribution was far removed from the smooth development trajectories envisaged by those who saw these developments as following a simple trajectory shaped by technical or economic determinants. The research is based upon qualitative data analysis of fifty five interviews with a wide range of entrepreneurs and innovators, focusing on two successful innovation cases with different points of insertion within the digital recording industry; (1) Spotify: currently the world’s most popular digital music streaming service; and (2) INgrooves: an independent digital music distribution service provider whose system is also used by Universal Music Group. The thesis applies perspectives from the Social Shaping of Technology (“SST”) and its extension into Social Learning in Technological Innovation. It explores the widely dispersed processes of innovation through which the complex set of interactions amongst heterogeneous players who have conflicting interests and differing commitments involved in the digital music networks guided diverging choices in relation to particular market conditions and user requirements. The thesis makes three major contributions to understanding digital disruption in the recording industry. (1) In contrast to prevailing approaches which take P2P distribution as the single point of focus, the study investigates the multiplicity of actors and sites of innovation in the digital recording industry. It demonstrates that the dematerialisation of music did not lead to a simple, e.g. technologically-driven transformation of the industry. Instead a diverse array of realignments had to take place across the music sector to develop digital music valorisation networks. (2) By examining the detailed processes involved in the evolution of digital music services, it highlights the ways in which business models are shaped through a learning process of matching and finding constantly changing digital music users’ needs. Based on the observation that business models must be discovered in the course of making technologies work in the market, a new framework of ‘social shaping of business models’ is proposed in order to conceptualise business models as an emergent process in which firms refine their strategies in the light of emerging circumstances. (3) Drawing upon the concepts of musical networks (Leyshon 2001) and mediation (Hennion 1989), the thesis investigates the interaction of the diverse actors across the circuit of the recording business – production, distribution, valorisation, and consumption. The comprehensive analysis of the intricate interplay between innovation actors and their interactions in the economic, cultural, legal and institutional context highlights the need to develop a more sophisticated and nuanced understanding of the recording industry.
36
Polk, Darrel Maurice. "Home Studio Owners' Strategies to Compete in the Recording Industry". ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6856.
Testo completoAbstract (sommario):
The purpose of this multiple case study was to explore strategies that well-established home recording studio owners in a city in the southeastern United States have used to compete in the recording industry. Four home recording studio owners served as participants. Each participant owned and operated a home studio business in the target area for longer than 10 years. Porter's 5 competitive forces model and Christensen's disruptive innovation theory were the conceptual lenses for this study. Interviews, direct observations, and website documents were the 3 data collection sources used to achieve methodological triangulation. The data were analyzed using Yin's 5-step thematic approach to qualitative data analysis: compiling, disassembling, reassembling, interpreting, and concluding. Four themes emerged from the analysis of the data: doing business and making money with friends, keeping the family safe and the studio secure, decoupling the clock from the creative process, and linking strategy to personal goals. The findings of this study may contribute to positive social change by economically empowering aspiring entrepreneurs to become small business owners and create new jobs that help strengthen their local economies.
37
Olson, Ted. "Recording Review of Old Hat Records". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1161.
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McNutt, Elizabeth. "Pipe wrench : a recording of music for flute and computer /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3001271.
Testo completoAbstract (sommario):
Thesis (D.M.A.--Music)--University of California, San Diego, 2000.Vita. Thesis consists of a document exploring "the issues of performing and recording music that uses technology" and a recording project. Five pieces of music for flute and computer technology were involved in the recording project: The twittering machine by Andrew May; Music for Flute and Computer by Cort Lippe; The Blistering Price of Power by Eric Lyon; Interact I by Barry Moon; and Jupiter by Philippe Manoury. Duration of acc. tapes: 58:05. "Selective discography" of works for flute and interactive electronics, and of works for flute and electronics on tape (leaves 54-55). Includes bibliographical references (leaves 58-61).
39
Xinnong, Zhang. "Recent Advance in Instrumentation Recording Technology in China". International Foundation for Telemetering, 1987. http://hdl.handle.net/10150/615270.
Testo completoAbstract (sommario):
International Telemetering Conference Proceedings / October 26-29, 1987 / Town and Country Hotel, San Diego, CaliforniaIn this paper the YJ2-4 portable tape recorder, which was recently developed by Beijing Research Institute of Telemetry, is described, and some of its major design features are discussed. YJ2-4 is a high performance, wideband, and microcomputerbased recorder/reproducer system, and compatible with existing international standards in the field of instrumentation tape recording (ISO 6068-1985 and IRIG 106-86).
40
Cookson, Richard David. "Transverse susceptibility studies of recording media". Thesis, University of Central Lancashire, 2002. http://clok.uclan.ac.uk/7714/.
Testo completoAbstract (sommario):
A highly sensitive transverse susceptometer has been developed for the investigation of magnetic recording media. The susceptometer was based on the design of Pareti and Turilli[4] with modifications to the solenoid and sensing coils. The modifications have resulted in an improvement in the signal to baseline ratio of a factor of 525, and a reduction in random noise. The increase in the sensitivity of the susceptometer allowed the investigation of Advanced Metal Particle (AMP) tapes and the measurement of the imaginary component of the transverse susceptibility (TS) proposed by Papusoi[5]. Also, a modification was developed which allowed the investigation of the non-linear TS, proposed by Chantrell et al[7]. The work reported for the latter two techniques was the first experimental demonstration of these measurements on magnetic recording media. Samples of Co-y-Fe203, Cr02, mixed y-Fe203 / Cr02 and AMP tapes were investigated, as were y- Fe201, Cr0 2 and AMP powders. The investigations suggested that the incoherent reversal mode was dominant in the systems containing Cr02, with coherent reversal dominant in the remaining systems. The anisotropy peaks measured using the non-linear IS were found to be less dependent on sample texture than those of the traditional linear measurement. In particular the anisotropy peaks of the non-linear TS for incoherently reversing systems appeared to be independent of texture and it was proposed that these were a direct measure of the anisotropy field distribution, although independent verification was not performed. The determination of magnetic coating thickness after Sollis and Bissell[6] was extended to allow the measurement of AMP tapes. A computer model was developed to investigate the error in the technique due to the particulate nature of the coating. The results of the model indicated that the error increased as coating thickness and volume packing fraction decreased. Correction factors were determined for MP3 and MP4 particle based systems. The detection of the imaginary component of TS and its close agreement with the theoretical predictions of Papusoi suggested that the dassification of TS as a 'stiffness' method of anisotropy field determination might be in error.
41
Choi, Ka-fai. "Some economics of the classical music record industry". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31938073.
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Salgado, Ananay Aguilar. "Recording classical music : LSO live and the transforming record industry". Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.586610.
Testo completoAbstract (sommario):
My doctoral research explores the values of classical music through its recording practices. I define recording practices broadly, including-but not limiting them to- engineers' recording techniques, current marketing strategies and the management of rights. The recent transformations of the record industry, with the shift from physical discs to digital downloads, the reduction in production and distribution costs, and the subsequent change in consumption patterns and accompanying legislation, provide an exceptionally rich arena for this discussion. The ongoing success of the London Symphony Orchestra's young label, LSO Live, is a case in point as it highlights the many features that intervene in music-making and reception, shaping the practices and perception of music in unpredictable ways. Based on fieldwork with the LSO, I trace the spaces where the values of classical music are negotiated on a daily basis. The time is the 2007/2008 season, when the orchestra, conducted by Valery Gergiev, performed and recorded all Mahler symphonies. The creation of LSO Live is explored through observation of and interviews with members of staff, musicians and recordists, who explained their experiences of setting up the label and its impact on their respective professional practices. The accounts bring into the picture their idea of classical music with considerations ranging from performance and listening practices, recording technologies, marketing strategies and current developments in copyright law. Further, I join debates on the artwork concept reflecting upon its role in mediating, sanctioning and perpetuating the values of classical music in its recorded form. Finally, I address musicology's traditional conceptualisation of music and, in particular, its slow engagement with the record industry's developments affecting the production of classical music. In so doing, I discuss the potential of this type of trans-disciplinary study to impact on the reconfiguration of the broader field of music studies and the record industry more widely.
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Wiederkehr, George. "The Role of Music Theory in Music Production and Engineering". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19679.
Testo completoAbstract (sommario):
Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.
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Faia-Harrison, Carl. "Collaborative computer music composition and the emergence of the computer music designer". Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/11917.
Testo completoAbstract (sommario):
This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with composers and others to create original tools and music for artistic creations. A selection of works is presented to exemplify archetypes found within the relational structures of collaborative work. The relatively recent development of this activity as an independent metier is located within its historical context, a context in which my work has played a significant role. The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches and program examples especially created for the works under discussion. Finally, the validation of the role of the Computer Music Designer as a new entity within the world of music creation is explored in a range of contexts, demonstrating the ways in which Computer Music Designers not only collaborate in the creation of new work but also generate new resources for computer-based music and new creative paradigms.
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Williams, Jack. "Recording the story: Exploring the relationship between music production and narrative". Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/209208/1/Jack_Williams_Thesis.pdf.
Testo completoAbstract (sommario):
This thesis explores the role of music production techniques in the communication of narrative in recorded popular music through an artistic research approach. Case studies are analysed and inform the production of six recorded tracks that illustrate how the communication of narrative in popular music can be supported or enhanced through the use of music production techniques. The findings indicate that a strong relationship exists between the creative production decisions made in the creation of a recorded track and the listener’s interpretation of the story being told.
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Thompson, Paul. "Creativity and collaboration in the recording studio : an empirical study". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2033799/.
Testo completoAbstract (sommario):
There is increasing evidence that creativity is the result of a dynamic system of interaction where the individual is only one part. Csikszentmihalyi describes a ‘creative system’ that includes three main elements: the domain, the field and the individual (Csikszentmihalyi: 1988, 1997, 1999 & 2004). During creative work, the individual must draw from the domain in order to select a suitable arrangement of ingredients from this body of knowledge and symbol system. This selection of ingredients is then presented to the field, the social organization that recognises, uses and alters the domain, to decide upon its creativity and inclusion into the domain (Csikszentmihalyi, 1997). In the context of rock music this occurs when the completed record is released to the public and the field of rock record production (TV, radio, popular music press, other musicians, engineers and producers etc.) decides upon the record’s novelty and its relevant addition to the domain through an often complex and iterative process. However, little has been written from a creative system’s perspective about what happens inside the recording studio before the record is released. Consequently, the interaction of the creative system’s main elements during smaller acts of creativity, such as the individual generation of ideas, and the collaborative exchanges that take place during group creativity, have been relatively underexplored. This thesis explores the creative process of making a rock recording inside the recording studio using the framework of the creative system. Ethnographic methods such as participant-observation, video and sound recording were used to observe the interaction between the performing musicians, the engineer and the record producer as they collaborated during the recording process. This helped to reveal the complex interaction between the participants and the creative system’s main elements during the creative tasks of performing, engineering and producing. Importantly, it helped to show for the first time that this interaction occurred on both an individual level and a group level, and highlighted how a creative-systems approach can be used to gain a more detailed and in-depth understanding of musical creativity more generally.
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Genevro, Brad. "The art of recording the American wind band". connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.
Testo completoAbstract (sommario):
Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Olson, Ted. "Recording Review of Nilsson, The RCA Albums Collection". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1166.
Testo completo
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Olson, Ted. "The Three East Tennessee Location Recording Sessions". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1194.
Testo completo
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Olson, Ted. "Recording Review of Jazz: The Smithsonian Anthology". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1162.
Testo completo