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Artykuły w czasopismach na temat "Music Production Studio"
Slater, Mark. "Locating Project Studios and Studio Projects". Journal of the Royal Musical Association 141, nr 1 (2016): 167–202. http://dx.doi.org/10.1080/02690403.2016.1151241.
Pełny tekst źródłaKearney, Daithí, i Adèle Commins. "Studio Trad: Facilitating traditional music experiences for music production students". Journal of Music, Technology & Education 11, nr 3 (1.12.2018): 301–18. http://dx.doi.org/10.1386/jmte.11.3.301_1.
Pełny tekst źródłaRohman, Taufiqur, Evi Malia i Achamd Baihaki. "Analisis Potensi Penerimaan Pajak Penghasilan Atas Konten Youtube". Jurnal Penelitian Teori & Terapan Akuntansi (PETA) 8, nr 1 (31.01.2023): 115–35. http://dx.doi.org/10.51289/peta.v8i1.642.
Pełny tekst źródłaKamalova, Y. B. "COMPUTER SYSTEM FOR HOME MUSIC STUDIO". SOFT MEASUREMENTS AND COMPUTING 6/1, nr 55 (2022): 54–65. http://dx.doi.org/10.36871/2618-9976.2022.06.006.
Pełny tekst źródłaOctavfernando, Andero Jeremy, Dodot Sapto Adi i Saudah Saudah. "Proses Komunikasi Kreatif Produser Electronic Dance Music dalam Produksi Lagu (Studi Pada Komunitas Produser EDM Lingkup Pengguna Fruity Loops Studio)". Indonesian Social Science Review 1, nr 2 (1.09.2023): 61–74. http://dx.doi.org/10.61105/issr.v1i2.49.
Pełny tekst źródłaPramuditya, Puput, i Arya Putra Hananta. "Proses Produksi Musik pada Lagu Tyok Satrio di Studio DS Records". Journal of Music Science, Technology, and Industry 6, nr 1 (30.04.2023): 79–96. http://dx.doi.org/10.31091/jomsti.v6i1.2420.
Pełny tekst źródłaFebrian, Arsya, Hestiasari Rante, Sritrusta Sukaridhoto i Akhmad Alimudin. "Music Scoring for Film Using Fruity Loops Studio". E3S Web of Conferences 188 (2020): 00004. http://dx.doi.org/10.1051/e3sconf/202018800004.
Pełny tekst źródłaChagas, Paulo C. "Composition in circular sound space: Migration 12-channel electronic music (1995–97)". Organised Sound 13, nr 3 (3.11.2008): 189–98. http://dx.doi.org/10.1017/s1355771808000289.
Pełny tekst źródłaYulia Pratiwi, Dina, i Erfan Erfan. "PELAKSANAAN PELATIHAN BINA VOKALIA DI PURWA CARAKA MUSIC STUDIO PADANG". Jurnal Sendratasik 10, nr 2 (5.12.2020): 134. http://dx.doi.org/10.24036/jsu.v9i2.111168.
Pełny tekst źródłaWalzer, Daniel. "Transient soundscape production". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, nr 1 (15.01.2021): 142–57. http://dx.doi.org/10.7146/se.v10i1.124203.
Pełny tekst źródłaRozprawy doktorskie na temat "Music Production Studio"
Thompson, Robin L. "The production of gospel music: An ethnographic study of studio-recorded music in Bellville, Cape Town". University of the Western Cape, 2015. http://hdl.handle.net/11394/4858.
Pełny tekst źródłaThis thesis explores the production of music with musicians, singers and music producers who adhere to and promote Pentecostalist Christianity. The music they produce is a recently emerged genre, which I call 'Pentecospel'. I have coined this term to refer to a contemporary form of religiously inspired popular music, which is performed by young musicians belonging to various Pentecostal churches in Cape Town. I argue that 'Pentecospel' music is an emergent social form of self-representation, which is framed around Pentecostalism and the sound of Cape Town, as identified by Martin (2013). Young musicians and singers in Cape Town are absorbing and appropriating global styles of music, concepts and beliefs and music making techniques within their own musical compositions and transform their music performances in a way that enhances their local popularity. Thus, I elaborate on the processes of production through technical and social interpretations. This thesis will explore how performance, engaging audiences, the social interaction between people and technology, and the creation of their own unique sound on their musical instruments are linked to visual approaches located in the anthropology. This thesis is based on ethnographic fieldwork which took place mostly between December 2014 and February 2015. During this period, I worked with music producers and young people who have recorded at the 'Sounds of the Nations Africa: Cape Town' recording studio in Bellville, Cape Town, sharing their experiences of everyday life in and outside the studio. My three month long fieldwork included in-depth interviews, conversations and discussions, photographic and video material, and activity field notes. I made use of these methods in order to record my observations in the recording studio, during rehearsals and in public performances focusing on the social and musical interaction with the performing artists I got to know, through participant observation. I include my own participation as a musician and audience member with the use of these methods, in recording music in the 'Sounds of the Nations' recording studio for their upcoming album "Sound of Africa" and in public performances.
Wilmering, Thomas. "Applications of Semantic Web technologies in music production". Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9078.
Pełny tekst źródłaPolk, Darrel Maurice. "Home Studio Owners' Strategies to Compete in the Recording Industry". ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6856.
Pełny tekst źródłaLaube, Jacob M. "Understanding artist development: How do producers support the development of artists through the production process?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107899/2/Jacob_Laube_Thesis.pdf.
Pełny tekst źródłaWatson, 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.
Pełny tekst źródłaAnthony, 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.
Pełny tekst źródłaThesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
Full Text
Pinto, Waldir de Amorim 1971. "O estúdio não é o fundo de quintal = convergências na produção musical em meio às dicotomias do movimento do pagode nas décadas de 1980 e 1990 = The recording studio is not the backyard: convergences in the record production amid the dichotomies of the pagode movement in the 1980s and 1990s". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284481.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T03:50:36Z (GMT). No. of bitstreams: 2 Pinto_WaldirdeAmorim_D.pdf: 1276240 bytes, checksum: 8a86b876e4f1a39e8d680c931ea6e7b2 (MD5) Pinto_WaldirDeAmorim_Anexo.zip: 100462299 bytes, checksum: d1dd90b2bae3cd94ad8bcc39bca911d8 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos
Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator
Doutorado
Fundamentos Teoricos
Doutor em Música
Huschner, Roland. "„[…] if it would be me producing the song…“". Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17606.
Pełny tekst źródłaThis dissertation attempts to adequately represent and explain the complex field-specific processes which take place in the recording studios of popular music production during the creation of configurations of sound. Using participant observation in Berlin-based recording studios for data collection, this data was analyzed by utilizing and modifying the works of Pierre Bourdieu and Michel Foucault. In contrast to Bourdieu’s claims that fields have an identical structure, the field of popular music production is quite unique in its workings and cannot be explained in such a manner. Based on these findings, a partially different model and terminology is being developed. Most of the used data is available as (German) transcription in the appendix.
Roberts, Rebecka. "Inspelningsteknik och inspelningsmiljö : hur spelar man in Bluegrass?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1946.
Pełny tekst źródłaEn inspelning från varje tillfälle medföljer, totalt tre inspelningar.
Den första är låten "Ill Fly Away" från utomhusinspelningen.
Den andra låten är "Man of Constant Sorrow" från studioinspelningen.
Den tredje låten är "Will the Circle Be Unbroken" från livekonserten.
Videodokumentären och musikvideos från respektive tillfälle finns på www.rebeckaroberts.com
Nikolausson, Levi. "Plugins: hjälp eller stjälp? : en undersökande studie". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73956.
Pełny tekst źródłaKsiążki na temat "Music Production Studio"
Menasché, Emile. The desktop studio: A guide to computer-based audio production. Milwaukee, WI: Hal Leonard, 2002.
Znajdź pełny tekst źródłaLemmy, red. Motörhead in the studio. London: John Blake, 2010.
Znajdź pełny tekst źródłaAlec, Nisbett, red. The sound studio. Wyd. 5. Oxford: Focal Press, 1993.
Znajdź pełny tekst źródłaBrown, Jake. Kanye West in the studio: Beats down! money up! (2000-2006). Phoenix: Colossus Books, 2006.
Znajdź pełny tekst źródłaMusic in video production. White Plains, N.Y: Knowledge Industry Publications, 1991.
Znajdź pełny tekst źródłaNovati, Maria Maddalena, i Marina Vaccarini. Marino Zuccheri & Friends. Milan]: Die Schachtel, 2018.
Znajdź pełny tekst źródłaCousins, Mark. Logic Pro 9: Audio and music production. Boston: Focal Press, 2010.
Znajdź pełny tekst źródłaRuss, Hepworth-Sawyer, red. Logic Pro 9: Audio and music production. Boston: Focal Press, 2010.
Znajdź pełny tekst źródłaCousins, Mark. Logic Pro 8: Audio and music production. Amsterdam: Focal, 2008.
Znajdź pełny tekst źródłaMusic in film and video productions. Boston: Focal Press, 1991.
Znajdź pełny tekst źródłaCzęści książek na temat "Music Production Studio"
Weekhout, Hans. "In the Studio". W Music Production, 7–12. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-3.
Pełny tekst źródłaTanev, George, i Adrijan Božinovski. "Virtual Studio Technology inside Music Production". W ICT Innovations 2013, 231–41. Heidelberg: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-01466-1_22.
Pełny tekst źródłaKnotts, Shelly, i Nick Collins. "AI-Lectronica: Music AI in Clubs and Studio Production". W Handbook of Artificial Intelligence for Music, 849–71. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_30.
Pełny tekst źródłaBarkati, Karim, i Francis Rousseaux. "How to Understand Digital Studio Outputs: The Case of Digital Music Production". W IFIP Advances in Information and Communication Technology, 151–69. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-642-54897-0_9.
Pełny tekst źródłaBrett, Thomas. "Popular Music Production in Laptop Studios". W Producing Music, 179–93. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781315212241-11.
Pełny tekst źródłaShelvock, Matthew T. "Case Studies in CBMP". W Cloud-Based Music Production, 149–56. New York : Routledge, 2020. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9781351137102-6.
Pełny tekst źródłaScotto, Ciro. "The Studio's Function in Creating Distortion Related Compositional Structures in Hard Rock and Heavy Metal". W Distortion in Music Production, 201–15. London: Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-17.
Pełny tekst źródłaChow, Yiu Fai, Jeroen de Kloet i Leonie Schmidt. "Documenting the Past, Sustaining the Present, Making the Future". W Contemporary East Asian Visual Cultures, Societies and Politics, 1–34. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_1.
Pełny tekst źródłaNasta, Dominique. "Musical Moments as Narrative and Emotional Catalysts in Three Silent Films by Jacques Feyder". W When Music Takes Over in Film, 57–74. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_4.
Pełny tekst źródłaChow, Yiu Fai, Jeroen de Kloet i Leonie Schmidt. "1 + 1 = ?" W Contemporary East Asian Visual Cultures, Societies and Politics, 165–95. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-6710-0_6.
Pełny tekst źródłaStreszczenia konferencji na temat "Music Production Studio"
Āboliņa, Daira. "Television-Commissioned Films in the History of the Riga Film Studio. Cinematic Language and Genesis of Stylistics". W International scientific conference of the University of Latvia. University of Latvia Press, 2023. http://dx.doi.org/10.22364/ms22.01.
Pełny tekst źródłaChronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)". W 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
Pełny tekst źródłaEtinger, Darko. "A Task-Technology Fit Model for Digital Audio Workstations Evaluation". W Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002867.
Pełny tekst źródłaJiang, Jiang. "Application of String Music Source in Musical Instrument Digital Interface Production". W Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.102.
Pełny tekst źródłaGarcia, Marcos da Rosa, Gutenberg Lima Marques, Matheus Barros i Juciane Araldi Beltrame. "Production of digital content in music teacher education: a study about podcast’s possibilities". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19448.
Pełny tekst źródłaArthur, Reginald, Olivia Anku Tsede, Mohammed-Aminu Sanda, Eleonora Belfiore i Thilde Langevang. "Conceptualizing the Influence of Digital Musicpreneurs on the Music Streaming Ecosystem in the Global South: An Actor-Network Perspective". W AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004302.
Pełny tekst źródłaZhao, Yan. "The Status Quo and Development Strategy of "Computer Music Production" Course in Ordinary Normal Colleges and Universities". W Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.179.
Pełny tekst źródłaMonnazzi, João, i Regis Faria. "Body Building Music: The Kinase Instalation". W Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.
Pełny tekst źródłaCHIRCEV, Elena. "Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.
Pełny tekst źródłaWu, Yue, Anran Qiu, Liuxuan Ruan, Xuejie Li, Jinhao Huang i Stephen Jia Wang. "DJaytopia: a hybrid intelligent DJ co-remixing system". W 5th International Conference on Human Systems Engineering and Design: Future Trends and Applications (IHSED 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004114.
Pełny tekst źródłaRaporty organizacyjne na temat "Music Production Studio"
Lefevre, Bruno, i Philippe Bouquillion. Communications, media and internet concentration in France, 2019-2021. Global Media and Internet Concentration Project, Carleton University, 2024. http://dx.doi.org/10.22215/gmicp/2024.2.
Pełny tekst źródłaChaitoo, Ramesh. The Entertainment Sector in CARICOM: Key challenges and Proposals for Action. Inter-American Development Bank, kwiecień 2013. http://dx.doi.org/10.18235/0009113.
Pełny tekst źródłaMcIntyre, Phillip, Susan Kerrigan i Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208593.
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