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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.
Pełny tekst źródłaSztein, 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.
Pełny tekst źródłaMeynell, 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/.
Pełny tekst źródłaLingard, William. "Sounds perfect : the evolution of recording technology and music's social future". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367009/.
Pełny tekst źródłaLubin, 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.
Pełny tekst źródłaLapp-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.
Pełny tekst źródłaYee, 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.
Pełny tekst źródłaVan, 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.
Pełny tekst źródłaThorley, 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.
Pełny tekst źródłaMok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities". Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.
Pełny tekst źródłaMusic
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.
Pełny tekst źródłaThesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
Full Text
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.
Pełny tekst źródłaENGLISH 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.
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.
Pełny tekst źródłaSurber, 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.
Pełny tekst źródłaBurchfield, 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.
Pełny tekst źródłaBowsher, 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.
Pełny tekst źródłaNozaic, Claire. "An introduction to audio post-production for film". Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.
Pełny tekst źródłaENGLISH 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.
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/.
Pełny tekst źródłaHill, 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.
Znajdź pełny tekst źródłaChapter 5 not included in e-thesis. Also held in print (viii, 177 leaves, 30 cm.) in Wellesley Theses Collection. (T 338.4778149 HIL)
Jones, Richard Earl. "Keep it Local: Music Streaming & Local Music Communities". Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1512137210213619.
Pełny tekst źródłaKelly, Caleb, i 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.
Pełny tekst źródłaKlein, 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.
Pełny tekst źródłaMalhão, 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.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-25T12:51:50Z (GMT). No. of bitstreams: 1 Malhao_RafaeldaSilva_M.pdf: 19665783 bytes, checksum: 97dedddf16af7fdc50c3ab0adc13a7b9 (MD5) Previous issue date: 2014
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
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.
Pełny tekst źródłaThis 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.
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.
Pełny tekst źródłaThis 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.
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.
Pełny tekst źródłaHensley, Lincoln. "Investigating Early Bluegrass Recording Techniques". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/597.
Pełny tekst źródłaLefford, M. Nyssim 1968. "Recording studios without walls : geographically unrestricted music collaboration". Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/62095.
Pełny tekst źródłaCurran, 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.
Pełny tekst źródłaWadsworth, 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.
Pełny tekst źródłaMartin, 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.
Pełny tekst źródłaForeman, Lewis. "English music 1860-1960 : its reception, revival and recording". Thesis, Cardiff University, 2005. http://orca.cf.ac.uk/54335/.
Pełny tekst źródłaCamara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.
Pełny tekst źródłaMurray-Noel, Jeanelle Lemol. "Small Business Profitability Strategies in the Music Recording Industry". ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/6072.
Pełny tekst źródłaSun, Hyojung. "Digital disruption in the recording industry". Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23631.
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 źródłaOlson, Ted. "Recording Review of Old Hat Records". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1161.
Pełny tekst źródłaMcNutt, 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.
Pełny tekst źródłaVita. 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).
Xinnong, Zhang. "Recent Advance in Instrumentation Recording Technology in China". International Foundation for Telemetering, 1987. http://hdl.handle.net/10150/615270.
Pełny tekst źródłaIn 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).
Cookson, Richard David. "Transverse susceptibility studies of recording media". Thesis, University of Central Lancashire, 2002. http://clok.uclan.ac.uk/7714/.
Pełny tekst źródłaChoi, 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.
Pełny tekst źródłaSalgado, 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.
Pełny tekst źródłaWiederkehr, George. "The Role of Music Theory in Music Production and Engineering". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19679.
Pełny tekst źródłaFaia-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.
Pełny tekst źródłaWilliams, 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.
Pełny tekst źródłaThompson, Paul. "Creativity and collaboration in the recording studio : an empirical study". Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2033799/.
Pełny tekst źródłaGenevro, 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.
Pełny tekst źródłaSystem 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).
Olson, Ted. "Recording Review of Nilsson, The RCA Albums Collection". Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1166.
Pełny tekst źródłaOlson, Ted. "The Three East Tennessee Location Recording Sessions". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1194.
Pełny tekst źródłaOlson, Ted. "Recording Review of Jazz: The Smithsonian Anthology". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1162.
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