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1
Fisandra, Halida Bunga, and Aryo Danusiri. "Orkestra sebagai Peristiwa Mediasi: Jakarta City Philharmonic, Tubuh dan Materialitas." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 1–14. http://dx.doi.org/10.24821/resital.v23i1.6162.
Повний текст джерелаАнотація:
The Covid-19 virus has infiltrated the recesses of human life around the world. The phenomenon that arises from restrictions on movement in offline spaces is the massive effort by humans to adapt to online media. We can see many artists and musicians performing through various digital platforms, including the Jakarta City Philharmonic (JCP) orchestra. This article will describe the changing process of orchestral space-time in online media which has eliminated bodily interactions as an essential element in musical performances. Through contemporary anthropology, we argue that technology allows orchestras to exist as mediating events through their role as mediators; which reassembles the connections and negotiations between the body and the materiality of the orchestra. The virtual ethnographic method was used through online observations and in-depth interviews with artistic directors, assistant musicians, and orchestra musicians. The results showed that the JCP orchestra experienced an embodied experience arising from technological disassembly and reassembly as a connecting tissue. It can be seen from the relation between actants, and their implications for evaluating artistic values and performativity of orchestral performances.
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Fisandra, Halida Bunga, and Aryo Danusiri. "Orkestra sebagai Peristiwa Mediasi: Jakarta City Philharmonic, Tubuh dan Materialitas." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 1–14. http://dx.doi.org/10.24821/resital.v1i1.6162.
Повний текст джерелаАнотація:
The Covid-19 virus has infiltrated the recesses of human life around the world. The phenomenon that arises from restrictions on movement in offline spaces is the massive effort by humans to adapt to online media. We can see many artists and musicians performing through various digital platforms, including the Jakarta City Philharmonic (JCP) orchestra. This article will describe the changing process of orchestral space-time in online media which has eliminated bodily interactions as an essential element in musical performances. Through contemporary anthropology, we argue that technology allows orchestras to exist as mediating events through their role as mediators; which reassembles the connections and negotiations between the body and the materiality of the orchestra. The virtual ethnographic method was used through online observations and in-depth interviews with artistic directors, assistant musicians, and orchestra musicians. The results showed that the JCP orchestra experienced an embodied experience arising from technological disassembly and reassembly as a connecting tissue. It can be seen from the relation between actants, and their implications for evaluating artistic values and performativity of orchestral performances.
3
GIBBS, LIAM E. "Synthesizers, Virtual Orchestras, and Ableton Live: Digitally Rendered Music on Broadway and Musicians’ Union Resistance." Journal of the Society for American Music 13, no. 03 (August 2019): 273–304. http://dx.doi.org/10.1017/s1752196319000208.
Повний текст джерелаАнотація:
AbstractAs Broadway musicals embrace contemporary popular music styles, orchestrators must incorporate the digital technologies necessary for producing convincing simulations of genres like hip hop and electronic music. At the same time, as production values soar, producers work to minimize their budgets, often putting downward pressure on the size of the orchestra. Although digital and electronic music technologies can expand the sonic register of the Broadway orchestra, they can also replace traditional acoustic instruments and save money. The Broadway musicians’ union, Local 802, has regularly sought to control the use of digital technologies and ensure that live musicians produce as much music as possible. Thus, Local 802's advocacy for the employment of their members can limit the sounds heard on Broadway.The following narrative considers three digital technologies—synthesizers, virtual orchestras, and Ableton Live—and examines case studies and controversies surrounding their use in Broadway orchestras and implications for liveness in performance. Informed by interviews with industry professionals, author observation of pit orchestras in rehearsal and performance, archival research, popular and industry media, and previous scholarship, I argue that the union's entrenched interests and antiquated regulations can stifle musical innovation on Broadway by resisting the use of digital music technologies.
4
Olmos, Adriana, Nicolas Bouillot, Trevor Knight, Nordhal Mabire, Josh Redel, and Jeremy R. Cooperstock. "A High-Fidelity Orchestra Simulator for Individual Musicians’ Practice." Computer Music Journal 36, no. 2 (June 2012): 55–73. http://dx.doi.org/10.1162/comj_a_00119.
Повний текст джерелаАнотація:
We developed the Open Orchestra system to provide individual musicians with a high-fidelity experience of ensemble rehearsal or performance, combined with the convenience and flexibility of solo study. This builds on the theme of an immersive orchestral simulator that also supports the pedagogical objective of instructor feedback on individual recordings, as needed to improve one's performance. Unlike previous systems intended for musical rehearsal, Open Orchestra attempts to offer both an auditory and a visual representation of the rest of the orchestra, spatially rendered from the perspective of the practicing musician. We review the objectives and architecture of our system, describe the functions of our digital music stand, discuss the challenges of generating the media content needed for this system, and describe provisions for offering feedback during rehearsal.
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Rafika, Ageng Setiani, Deviana Ika Putri, and Siskawati Sanusi. "SISTEM PEMBAYARAN RINCIAN BIAYA KULIAH PADA PERGURUAN TINGGI RAHARJA MENGGUNAKAN GO+." Journal CERITA 3, no. 1 (February 1, 2017): 64–74. http://dx.doi.org/10.33050/cerita.v3i1.621.
Повний текст джерелаАнотація:
Along with the development of increasingly sophisticated digital technology, online payment system rife used both government and private agencies. Similarly, in Higher Education. Financial Accounting System on Higher Education Prog is called GO (Green orchesta) is said to be still using the method of effective and efficient because students are required to come to campus first to find out some of the bills that must be paid. Even to know RBR (details Registration Fees) and Yandex (details Tuition) still use the local network that can only be accessed on BoxSiS (Student iLearning Service Box). With the rapid development of existing technologies, systems GO (Green orchesta) need to be made updates to the onlineversions are able to be accessed anytime and anywhere by students. Hence comes the system that has been updated is GO + (Green Orchestra Plus). GO + (Green Orchestra Plus), enables all payment systems pekuliahan student as the student can check the details of tuition anywhere and anytime. Not hasrus come kekampus and queued at the box sis. GO + (Green Orchestra Plus) highly efficient and effective for use as it can support the process online payments.
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Milašinović, Jelena. "Digital presentation of the Belgrade Philharmonic in the period of concert bans." Kultura, no. 174-175 (2022): 151–62. http://dx.doi.org/10.5937/kultura2275151m.
Повний текст джерелаАнотація:
The paper focuses on the COVID-19 pandemic impact on performing arts, notably the emergence of new presentation forms devised while concert activities were suspended, referring to the example of philharmonic orchestras. Owing to totalizing digitalization, which has shifted the entire production and reception of the performing and listening experience to the online sphere, the role of the audience also undergoes a shift from a collective to a virtual entity. The text, firstly, maps the emerging practices and explores their impact on changing the very sensory perception of new media content consumed in virtual reality. The focus of the paper is on redefinition of the PR department from communications towards the roll of the curator of the online presentations and the digital content and overall activities of the orchestra. The case study examines the example of the Belgrade Philharmonic Orchestra by analysing its digital presentation and communication strategy between March and June 2020. The goal is to identify the contributions of new practices, whose combination with the traditional ones could result in long-term audience and public relations development and enhancement of musical performance presentation. By continuously producing new contents for different target groups, without a single concert held in this period, the Philharmonic successfully attracted new audience and turned a crisis into an opportunity for interaction with new users, thus generating growth on all platforms. The conclusion provides a predictive analysis of return to normality, after the digital transgression experiences. It is recognized that music institutions will strategically develop their digital concert halls as new entrepreneurial models. As competition in this sphere brings PR departments to the fore owing to the need to work with complex algorithms, the digital ethical dilemma will intensify as a burning issue in the context of demographic data collection.
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Freitas, Joana. "Kill the Orchestra." Journal of Sound and Music in Games 2, no. 2 (2021): 22–41. http://dx.doi.org/10.1525/jsmg.2021.2.2.22.
Повний текст джерелаАнотація:
In the age of participatory and convergence paradigms, video game music has its own networked culture with cybercommunities that discuss, share, and create content, thus opening up a creative space for artistic activities in a constant digital flow. Music composition and production is one of these activities, with files made available on several platforms such as SoundCloud and YouTube, specifically in the format of modification files (or mods). Building on research for a master’s dissertation, this article examines a new model of online artistic production in the form of the circulation of musical mods that were composed and shared on the Nexus Mods platform for the The Elder Scrolls IV: Oblivion and The Elder Scrolls V: Skyrim video games. These mods add new musical material that is similar to the existing soundtrack of both titles, but the majority of the files in this platform’s audio category are related only to sounds, not to musical composition. By using titles such as “better sounds” or “immersive sounds” to describe their additions, many modders aim to give other gamers a more immersive experience in the game(s). In this case, immersive relates not only to the musical style and sound quality of the aural effects but also a plausible construction of the reality in which the gamers live, play, and negotiate meaning relating to their own social context. Intersecting “playbour,” fandom, aural immersion, and audiovisual literacy, these audio modders work on adding new layers to the soundscapes and environments of the virtual worlds presented in the two games. The modders regard immersion as a key aspect of design and playability, and they contribute audio material to enable their social capital and visibility on online platforms.
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Andriyanto, R. M. Aditya. "PROSES PRODUKSI AUDIO PADA KONSER VIRTUAL "COLORCHESTRA" BATAVIA CHAMBER ORCHESTRA MENGGUNAKAN SOFTWARE DIGITAL AUDIO WORKSTATION LOGIC PRO." Imaji 19, no. 2 (December 26, 2021): 143–61. http://dx.doi.org/10.21831/imaji.v19i2.44854.
Повний текст джерелаАнотація:
Pandemi Covid-19 menyebabkan munculnya konsep pertunjukan konser musik secara virtual sebagai alternatif penyajian karya seni musik. Penelitian ini bertujuan untuk mengetahui proses produksi audio hasil rekam karya pada Konser Virtual "Colorchestra" Batavia Chamber Orchestra menggunakan software Digital Audio Workstation Logic Pro. Selain itu, penelitian ini diharapkan dapat menambah wawasan pendidik dan peserta didik (mahasiswa) mengenai penciptaan karya mengunakan software DAW sebagai kecakapan digital literasi pendidikan musik abad-21. Metode penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan eksploratif studi dokumentasi. Pada konser virtual "Colorchestra", audio dan video sudah diproduksi sebelum penayangannya. Tahapan produksi audio yang dilakukan diantaranya proses rekam audio, editing audio, mixing dan mastering yang dilakukan pada DAW Logic Pro. Proses rekam audio dilakukan pemain secara satu-persatu, kemudian digabungkan dan diedit pada DAW. Pada proses mixing dan mastering, audio digarap sesuai dengan interpretasi conductor terhadap karya melalui pengolahan estetis frekuensi, dinamika dan panorama menggunakan DAW dari masing-masing track instrumen. Hasil akhir audio selanjutnya digabungkan dengan produksi video untuk kemudian ditayangkan menjadi konser virtual "Colorchestra" Batavia Chamber Orchestra.Kata Kunci: Penciptaan Karya Musik, Konser Virtual, Digital Audio Workstation. AbstractThe Covid-19 Pandemic leads to virtual music concerts as an alternative for music performance. This study aims to understand the audio production process in Virtual Concert "Colourchestra" Batavia Chamber Orchestra using software Digital Audio Workstation (DAW) Logic Pro. This study will give more knowledge about producing music using DAW software as digital skills literacy in 21st-century music education. This study uses a qualitative descriptive method with an explorative approach and documentation study. For the virtual concert "Colourchestra", audio and video were pre-recorded before the premiere broadcast. The audio production process consists of recording, editing, mixing, and mastering using DAW Logic Pro. The audio recording session was done one by one before it was combined and edited. The mixing and Mastering process was done by the BCO conductor based on his interpretation of the song through the settings of frequency esthetic, dynamics, and panorama using DAW from each instrument track. The final audio was then combined with the video that was taken and edited separately. Then it is played in the premiere broadcast of Virtual "Colourchestra" Batavia Chamber Orchestra. Keywords: Music Production, Virtual Concert, Digital Audio Workstation.
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Raditya, Michael H. B. "Technology Negotiation in Dangdut Koplo’s Ecosystem and Practices." Jurnal Kawistara 12, no. 2 (October 5, 2022): 265. http://dx.doi.org/10.22146/kawistara.73176.
Повний текст джерелаАнотація:
This article deals with the negotiation between the subgenre of Dangdut and technology. In this article, I articulate how agents of Dangdut Koplo use digital technology and how digital technology affects Dangdut Koplo’s ecosystem, cultural, and social practices. It is necessary to discuss Dangdut Koplo because it has several practices that are impacted by technology. Their practices elaborate on how society negotiated the use of technology. Dangdut koplo is one of the regional dangdut (dangdut daerah) subgenres that has developed in Indonesia, particularly East Java. Dangdut koplo emerged in the 1990s in Jarak Street, Surabaya, East Java. Furthermore, I will refer to two moments that demonstrated the impact of technology on the subgenre: first, the local people's activation of the local recording industry, and second, the activation of the internet and digital platforms by local people. I will elaborate on these to show the negotiation pattern between technology and their music, Dangdut Koplo. At the first moment, technological advances made people develop their local industries. The existence of local industries changed their economic and cultural patterns. Furthermore, middlemen in the music industry that Jakarta previously monopolized shifted to their surroundings. As a result, they could activate and directly control their economy and society. Then, the first moment developed rapidly in the second moment, when the internet changed society's social, economic, and cultural patterns. The internet allowed everyone to distribute their work. They could directly access consumers without the role of the previous middleman. Melayu Orchestra does not need a local music label or distributor with a solid fan base. They could distribute their works on the internet and digital platforms. This technological impact meant the Melayu Orchestra could compete with the local recording industry and vice versa. This pattern also changed their production processes, where digital needs made daily impressions, the development of Melayu orchestra personas on gadget screens, etc. Based on these developments, I elaborated on these questions: How did the ecosystem changes and its relationships impact the dangdut community? How is the dangdut community negotiating with technology? Utilizing digital data and observation data (obtained in 2017), I articulate how technological developments changed society's ecosystem and practice; and how society deals with technology.
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Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.
Повний текст джерелаАнотація:
The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.
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Vergani, Matteo. "Rethinking grassroots campaigners in the digital media: The ‘grassroots orchestra’ in Italy." Australian Journal of Political Science 49, no. 2 (March 27, 2014): 237–51. http://dx.doi.org/10.1080/10361146.2014.898129.
Повний текст джерела
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Elblaus, Ludvig, Åsa Unander-Scharin, and Carl Unander-Scharin. "Uncanny Materialities: Digital Strategies for Staging Supernatural Themes Drawn from Medieval Ballads." Leonardo Music Journal 27 (December 2017): 62–66. http://dx.doi.org/10.1162/lmj_a_01020.
Повний текст джерелаАнотація:
In the medieval tradition of ballads, a recurring theme is that of transformation. In a staged concert for chamber orchestra, singers and dancers called Varelser och Ballader ( Beings and Ballads), we explored this theme using ballads coupled with contemporary poetry and new music. The performance made use of custom-made digital musical instruments, using video analysis and large-scale physical interfaces for transformative purposes. In this article, we describe the piece itself as well as how uncanny qualities of the digital were used to emphasize eerie themes of transformation and deception by the supernatural beings found in the medieval ballads.
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Pisano, Leandro. "Comunidad acústica e identidad sónica. Una perspectiva crítica sobre el paisaje sonoro contemporáneo." Panambí. Revista de Investigaciones Artísticas, no. 1 (January 5, 2017): 129. http://dx.doi.org/10.22370/panambi.2015.1.524.
Повний текст джерелаАнотація:
Este artículo plantea una perspectiva crítica al paisaje sonoro contemporáneo en base al cuestionamiento de algunas categorías tradicionales que han orientado la interpretación del concepto en los estudios sonoros de los últimos decenios. El artículo se centra en los proyectos Calitri Temporary Orchestra y here. now. where?. El análisis de estos estudios de caso implica un compromiso crítico con las complejas nociones de "comunidad sónica" e "identidad acústica", y la propuesta de un posible "enfoque post-digital" para el paisaje sonoro.
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Hart, Adam, and Alan Williams. "A Space for Making: Collaborative composition as social participation." Organised Sound 26, no. 2 (August 2021): 240–54. http://dx.doi.org/10.1017/s1355771821000285.
Повний текст джерелаАнотація:
Music composition is traditionally regarded as an act of individual creation and expression, but can be approached, through the aid of digital platforms, as an activity that encourages learning through social participation. This article describes the development of a tablet-based app, Paynter, intended as a digital graphic interface for group collaborative composition and its experimental use in a primary school in Salford, UK, alongside musicians from the BBC Philharmonic orchestra. The app created a framework for a negotiated language of symbols used by two groups of students at Key Stage 1 and Key Stage 2 to tell stories through sound and music. Its functionality enabled compositional thinking to emerge collectively from groups with relatively little exposure to the idea of composing and little knowledge of traditional notational or digital sequencing technologies. The research is grounded in a theoretical context of constructivist approaches to education.
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Răsvan, Cătălin. "Sound Banks – a Priceless Aid in Contemporary Music Writing." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 220–30. http://dx.doi.org/10.2478/ajm-2019-0012.
Повний текст джерелаАнотація:
Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.
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Davis, Susan A. "“Who Keeps Your Flame? Who Tells Your Story?” Teaching Orchestra through Primary Sources." Music Educators Journal 109, no. 2 (December 2022): 29–37. http://dx.doi.org/10.1177/00274321221138784.
Повний текст джерелаАнотація:
Music educators often look for ways to deepen students’ understanding and artistic interpretations of repertoire. One way to engage students in discovery and dialogue about the music they perform is through connecting to the historical, cultural, and societal implications of primary sources. This article delves into resources from the Library of Congress that enable us to tell richer stories about the people and circumstances behind familiar orchestral repertoire, including works by Chaminade, Copland, and Miranda. The recommended materials include primary and secondary sources from the Library of Congress digital archives, best practices for using these resources, inquiry-based strategies to engage students in critical thinking, and connections to the 2014 Music Standards.
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Malvano, Andrea. "The Digital Project of the RAI Archive: Catalogue, Chronology and Study of the Italian Broadcasting Orchestra." Music Reference Services Quarterly 23, no. 1 (July 2, 2019): 1–14. http://dx.doi.org/10.1080/10588167.2019.1629808.
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Trippett, David. "Facing Digital Realities: Where Media Do Not Mix." Cambridge Opera Journal 26, no. 1 (February 19, 2014): 41–64. http://dx.doi.org/10.1017/s0954586713000311.
Повний текст джерелаАнотація:
AbstractWagner’s vaunted model of artistic synthesis persists in scholarly assessments of his work. But at its centre, the composer argued that the media of voice and orchestra do not mix: they retain their identities as separate channels of sound that can neither duplicate nor substitute for one another. Taking as a starting point Wagner’s claims for the non-adaptability of media, this article addresses the adaptation of Wagner’s music to the modern digital technologies of HD cinema and video game. Drawing on a wide circle of writers, from Schiller and Žižek to Bakhtin, Augé, Baudrillard and second-generation media theorists, it interrogates the concept of ‘reality’ within live acoustic performance, both historically, as a discursive concept, and technologically, via the sensory realism of digital simulcasting and telepresence. The philosophical opposition of appearance and reality fails when reality is defined by the intimate simulation of a sensory event as it is registered on the body. And by contrasting the traditions of high fidelity in (classical) sound recording with that of rendering sound in cinema, I suggest ways in which unmixable media appear to have an afterlife in modern technologies. This raises questions – in a post-Benjamin, post-McLuhan context – about our definition of ‘liveness’, the concept of authenticity within mediatised and acoustic sounds, and our vulnerability to the technological effects of media.
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Kolar, Emina Berbic, and Vesna Srnic. "Glocal, Holistic and Performative Education." European Journal of Teaching and Education 3, no. 3 (December 20, 2021): 45–50. http://dx.doi.org/10.33422/ejte.v3i3.705.
Повний текст джерелаАнотація:
We look at innovative education through a global and local approach to the philosophy of existence, known as glocalization, and through the psychological Gestalt of experiencing a whole that is inevitably viewed within social science by a sociological holistic principle. Our glocal, holistic, aesthetic practice has been experienced and realized through intensive performative education that enhances the existential capacity in multi / media projects through the humanistic approach, affectively using digital framing. Performative projects are performed in the Media Culture course at the Faculty of Teacher Education in Osijek, Department in Slavonski Brod (FOOZOS), including vertical education of primary and secondary students. The education process is performed through lectures, intensified through e-learning, and finalized by group orchestration in a large project supported by the non-profit organization Culture, Media and Education – Arthea and the Ministry of Culture of the Republic of Croatia. Examples of successfully implemented glocal, holistic and performative education can be seen in the videos: Baroque in Postmodern Glocal Approach, (created for the European Schoolnet Academy, 2019), Situationally Performative Smartphone Orchestra (conducted performance, Slavonski Brod town square, 2018), Post-Modern Dystopic Deconstruction for Mobile Phones Orchestra (FOOZOS, Department in Slavonski Brod, 2017), Project with Mobile phones (mobile learning for the course Contemporary Media in Literature Lectures, FOOZOS, Department in Slavonski Brod, 2016), multimedia poem The Soul of the World (Music Biennale Zagreb, 2007) and New Education Model: Multimedia Art (Christmas in Musical Pictures, 2004, Concert Hall, Slavonski Brod).
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Lokki, Tapio, Jarmo Hiipakka, Rami Hänninen, Tommi Ilmonen, Lauri Savioja, and Tapio Takala. "Realtime audiovisual rendering and contemporary audiovisual art." Organised Sound 3, no. 3 (December 1998): 219–33. http://dx.doi.org/10.1017/s1355771898003069.
Повний текст джерелаАнотація:
Visual rendering is the process of creating synthetic images of digital models. The modelling of sound synthesis and propagation in a virtual space is called sound rendering. In this article we review different audiovisual rendering techniques suitable for realtime rendering of three-dimensional virtual worlds. Virtual environments are useful in various application areas, for example in architectural visualisation. With audiovisual rendering, lighting and acoustics of a modelled concert hall can be experienced early in the design stage of the building. In this article we demonstrate an interactive audiovisual rendering system where an animated virtual orchestra plays in a modelled concert hall. Virtual musicians are conducted by a real conductor who wears a wired data dress suit and a baton. The conductor and the audience hear the music rendered according to the acoustics of the virtual concert hall, creating a lifelike experience.
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Burtner, Matthew, Steven Kemper, and David Topper. "Network Socio-Synthesis and Emergence in NOMADS." Organised Sound 17, no. 1 (February 14, 2012): 45–55. http://dx.doi.org/10.1017/s1355771811000501.
Повний текст джерелаАнотація:
NOMADS (Network-Operational Mobile Applied Digital System) is a network client–server-based system for participant interaction in music and multimedia performance contexts. NOMADS allows large groups of participants, including the audience, to form a mobile interactive computer ensemble distributed across a network. Participants become part of a synergistic interaction with other performers, contributing to the multimedia performance. The system enhances local performance spaces, and it can integrate audiences located in multiple performance venues. Individual user input from up to thousands of simultaneous users across a network is synthesised into a single emergent sound and visual structure in an approach we call socio-synthesis. This paper recounts research leading up to NOMADS, outlines its technological architecture, and describes several implementations. Current applications include the telematic operaAuksalaq, and performances by the MICE Orchestra. The authors also consider the potential of large-scale human–computer ensembles as a paradigm for composition and performance.
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Cheng, Lee. "Musical competency development in a laptop ensemble." Research Studies in Music Education 41, no. 1 (July 23, 2018): 117–31. http://dx.doi.org/10.1177/1321103x18773804.
Повний текст джерелаАнотація:
The laptop ensemble is a platform that has recently been made possible by computer technology that enables individuals to perform music collaboratively. Research in this area has largely focused on the performance aspects, with very few studies focusing on the development of musical competency through participation in a laptop ensemble. This article reports the findings of a study that assessed the development of participants’ ( n = 80) perceived musical and non-musical competencies in a laptop ensemble affiliated to a tertiary institution in Hong Kong. A mixed methods approach consisting of a questionnaire survey and semi-structured interviews was used to investigate their learning experiences. For comparison, the questionnaire was also administered to participants in a conventional acoustic orchestra ( n = 80). Semi-structured interviews were conducted with the laptop ensemble group to examine the participants’ perceptions of the development of their musical and non-musical competencies. A three-way dependency model was developed based on the findings, which revealed the technologically-oriented aspects of musical and non-musical competency development in the laptop ensemble. Participating in the laptop ensemble fostered students’ ability to develop both musical and technological skills, which fits with the framework of digital musicianship of essential skills for musicians and music educators in the digital era.
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Škorupová, Michaela. "ALTERNATIVE ACTIVITIES DURING A PANDEMIC PERIOD IN THE SPHERE OF CULTURAL INSTITUTIONS." EUREKA: Social and Humanities 3 (May 31, 2020): 20–26. http://dx.doi.org/10.21303/2504-5571.2020.001324.
Повний текст джерелаАнотація:
Taking a broad-based view on the global health crisis, this paper examines the feasibility of cultural sector reaction on radical changes on an unexpected situation with an unknown deadline. The paper summarized the theoretical basis in public relations, presented by Slovak, Czech and foreign authors that explain the meaning, aims and value of PR in the cultural sector. It refers to three basic goals of PR – building an image, routine publicity and crisis PR. The author emphasizes on signification settings of effective communicative tools in new circumstances between cultural organizations and audiences. The aim of this paper is to analyze, how organizations in the cultural sector in Slovakia use available tools to sustain existing audiences and at the same time how to attract new target groups by digital PR tools during the pandemic period. The objects are examined in the paper - theatres, galleries, and philharmonic orchestra in Slovakia. The methodology of this study will be addressed through analytical study. This will be revealed through discussion, investigation, analysis that can be detected through detailed content interrogation of the objects, elements and structure of the content of this study. The content of this article is intended for other cultural organizations that strategically plan their activities in digital form in the future
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Bustamante, Pedro, Sara Girón, and Teófilo Zamarreño. "Simulated Sound-Fields in a Multi-Configurable Auditorium." Archives of Acoustics 39, no. 3 (March 1, 2015): 365–83. http://dx.doi.org/10.2478/aoa-2014-0041.
Повний текст джерелаАнотація:
Abstract In this work, simulation techniques have been implemented to study the sound fields of a multi-configurable performance enclosure by creating computer acoustic 3D-models for each room configuration. The digital models have been tuned by means of an iterative fitting procedure that uses the reverberation times measured on site for unoccupied conditions with the orchestra shell on the stage. The initial virtual acoustic model is validated by comparing the other monaural and binaural acoustic parameters measured in the room in terms of their perception differential threshold. The procedure is applied to the Maestranza Theatre of Seville, built for the Universal Exhibition in 1992. The spatial distribution of the acoustic parameters in the audience area of the venue by measured parameters and simulation mappings enables the establishment of three zones of acoustic comfort, and are corroborated by the values of the Ando-Beranek function which provide a global quality coefficient of each zone.
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Hancock, Carl B. "Aesthetic Responses of Music and Non-Music Majors to Gradual Pitch Center Changes." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 85–94. http://dx.doi.org/10.2307/40319341.
Повний текст джерелаАнотація:
Abstract The purpose of this study was to determine if music and non-music majors’ aesthetic responses are differentiated by gradually changing pitch center conditions. One hundred and forty-four university students listened to a professional recording of the second movement of Samuel Barbers Concerto for Violin and Orchestra, Op. 14 altered to have a gradually rising (sharper) or lowering (flatter) pitch center changing at a rate of 1/100 of a semitone (1 cent) per second. Participants recorded their aesthetic responses using a Continuous Response Digital Interface (CRDI). Results of a two-way ANOVA indicated a significant main effect for pitch condition and an interaction effect for major and pitch condition. Mean aesthetic response scores for music and non-music majors hearing the gradually flatter performance were lower than those for the unaltered condition. There was little difference in the scores of non-music majors between the gradually sharper and unaltered conditions, however, music majors’ mean scores were lower under the gradually sharper condition.
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Agustina Kusuma Dewi, Yasraf Amir Piliang, Irfansyah, and Acep Iwan Saidi. "Agustina Kusuma Dewi TRANSPOSISI KREATIF ‘GERAK’ DALAM FILM SEBAGAI IDENTITAS KULTURAL PADA ERA MULTILITERASI DIGITAL Studi Kasus Film ‘Setan Jawa’ Karya Garin Nugroho." PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT 2 (January 24, 2020): 93–98. http://dx.doi.org/10.33153/semhas.v2i0.106.
Повний текст джерелаАнотація:
Technology change the way of thinking, how people access information also influence process to spread andshare information in various media, including film, an art that plays images and screen technology. In the film,‘movement’ is a changing position of an object. Accelerating technology constructed’movement’ becomes animportant keyword that needs to be presented in every communication channel. ‘Setan Jawa’ Film by GarinNugroho with Gamelan Orchestra composed by Rahayu Supanggah, was released in Indonesia in 2016 inJakarta and still scheduled to tour the world until 2020. Combines a variety of collaborative art, design andtechnology—‘Setan Jawa’ creating a multiliterated communication channel that has possibilities to become amedium society cultural education. In this film, ‘movement’ becomes a sign constructed by creative transpositionof narratives in various arts, including puppets. Using a case study approach and documentation analysis,referring to the results of Roger Long’s research (1979), this research aims to identify creative forms ofpuppet’s ‘movement’ transposition in the film ‘Setan Jawa’ as cultural identity, a finding that in the Industrial Era4.0; through multiliteration digital, process of cultural discourseto society could be done through a varietyvehicle of signs.
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López, María Ángeles Pèrez. "Borders of the Text in the Global World. New Times and Spaces of Chilean Poetry." Guará 7, no. 2 (November 30, 2017): 9. http://dx.doi.org/10.18224/gua.v7i2.6405.
Повний текст джерелаАнотація:
In relation to the borders of the text and the border genres, some manifestations of the last two decades in / from / from Chilean poetry that are characterized by their intermediary and interartistic nature and work in the field of e-poetics are of great interest. , in particular the Orchestra of Poets and the works of Carlos Cociña. The question is asked whether it is possible to continue to think in national terms of a proposal (or set of proposals) that are articulated for and from the digital swarm, and concludes in the need for an interdisciplinary, intercultural and intermediate scope of work to map that country of poets that with so much admiration we call Chile.Fronteras del Texto en el Mundo Global. Nuevos tiempos y Espacios de la Poesía ChilenaEn relación con las fronteras del texto y los géneros fronterizos, resultan de gran interés algunas manifestaciones de las dos últimas décadas en/ de/ desde la poesía chilena que se caracterizan por su naturaleza intermedial e interartística y trabajan en el ámbito de la e-poética, en particular la Orquesta de Poetas y las obras de Carlos Cociña. Se formula la pregunta de si es posible seguir pensando en términos nacionales una propuesta (o conjunto de propuestas) que se articulan para y desde el enjambre digital, y se concluye en la necesidad de un ámbito de trabajo interdisciplinar, intercultural e intermedial para cartografiar ese país de poetas que con tanta admiración llamamos Chile.Fronteiras do Texto no Mundo Global: novos tempos e espaços da poesia chilenaEm relação às fronteiras do texto e os gêneros de fronteira, são de grande interesse que algumas manifestações das últimas duas décadas na / da / de poesia chilena é caracterizada pela sua intermedial natureza e Interartistic e trabalhando no campo da e-poetica, em particular, a Orquestra de poetas e os trabalhos de cozinha Carlos. A pergunta se é possível continuar pensando que no nacional termos uma proposta (ou propostas) que eles articular para e do enxame digitale concluiu-se sobre a necessidade de um campo de trabalho interdisciplinar, intercultural e intermedial para mapear o país dos poetas, que chamamos de Chile com tal admiração.
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Li, Xiaoxia, Xi Deng, and Hongfei Xu. "Interactive Cultural Communication Effect in VR Space of Intelligent Mobile Communication Network." Wireless Communications and Mobile Computing 2022 (February 25, 2022): 1–11. http://dx.doi.org/10.1155/2022/9689272.
Повний текст джерелаАнотація:
Virtual reality technology can provide more display techniques to realize the interactive design of multiexhibition area of red humanities and natural resources. First of all, through the three-dimensional interactive display of cultural relics and scene reproduction of historical events, visitors can enjoy the unrestrained and immersive appreciation, make up for people’s lack of understanding of history, and let tourists personally feel the difficulties and hardships in the development of Chinese revolutionary history. Second, the digital method also provides for the pavilion and the scenic spot design personnel more creative method; dynamic scene reappearance interaction design based on virtual reality technology to promote education, protection of cultural relic collection and utilization, academic research, and the industrial development and multidimensional public welfare publicity results is blended in among them, through the panoramic, immersive, and interactive display technique, such as multilevel multiway spread red brigade culture. Virtual reality constantly imitates the real-life environment, and the application of perception sensing equipment has perception. This new technology requires us to continue to explore and research it. Virtual reality technology is a very cutting-edge subject and research field, which is very challenging. The communication form of culture has also been constantly evolving. Virtual reality technology (VR) has changed the way of traditional culture appreciation through the transmission of visual information, bringing people a new aesthetic enjoyment. Mainstream media is used to mobilize the red cultural heritage protection and scholars at home and abroad, to explore the application of virtual reality in the red culture tourist attraction planning, and to explore virtual reality applications in red open spot virtual roaming: exploration of virtual reality in the application of historical and cultural sites to red tourism management and exploration of virtual reality in the brand historical and cultural sites in the application of the travel marketing, to build an intelligent mobile communication network communication platform and broaden the new path of inheritance and protection. On the basis of studying the communication effect of traditional culture, this paper studies the possible communication effect of symphony orchestra under the new technology format under the framework of communication studies. It also analyzes and explores various factors such as the practical value, difficulty, civilized prestige, adaptability, and resistance to adversity of the culture in cultural communication and compares the methods of cultural communication. By developing a virtual instrument placed in the sphere of virtual reality space, the traditional symphony orchestra can be transformed into an interactive culture communication in virtual reality space. In this communication design, users can define their own instruments to play interactive culture communication, change the position of the instrument on the sphere interactively, and even change the sound effect of the symphony interactively by rotating or adjusting the size of the sphere, so as to achieve the best communication effect of the symphony.
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Johnson, Christopher M. "Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance." Journal of Research in Music Education 44, no. 1 (April 1996): 84–96. http://dx.doi.org/10.2307/3345415.
Повний текст джерелаАнотація:
The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Music majors ( n = 48) and nonmusic majors ( n = 48) listened to four different soloists' performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, movement 1. Subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), an instrument that allows ongoing evaluation of specified performance variables. Using a Likert-type scale, subjects also assessed soloists with regard to musicianship, expression, tone quality, and tempo. Results indicated significant differences for musicians compared to nonmusicians regarding rubato assessments. Musicians agreed with expert assessments, whereas non-musicians' scores seemed haphazard. When musicians were separated into two groups based on musical skill level, results from the “more proficient” musicians were in direct agreement with the panel of experts' evaluations. The “less proficient” musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with those of experts. This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less proficient musicians seem to be able to assess performances on somewhat more obvious variables, it seems that only the most proficient musicians can evaluate the usage of rubato in performance. Based on the data from this study, it appears that a relationship exists between musicianship and the use of rubato and that use of rubato might well be one element that separates the very finest performance from the simply ordinary.
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Demidova, Malvina, and Irina Borisovna Dadianova. "Traditional ornament in the multimedia space." Культура и искусство, no. 4 (April 2022): 67–77. http://dx.doi.org/10.7256/2454-0625.2022.4.37767.
Повний текст джерелаАнотація:
The subject of this research is the project process of introducing the art of traditional ornament into the multimedia space. The relevance and novelty of the topic are caused by the use of motifs of Russian traditional ornaments in a new technological environment, which also helps to attract the attention of the younger generation to traditional culture, strengthening the connection between traditions and modernity. The aim of the research is to study the interpenetration and mutual influence of artistic techniques and creative methods of creating traditional ornaments for adaptation and application in the process of developing multimedia projects. The main objectives of the research include, firstly, consideration of the use of motifs of Russian traditional ornaments in a new technological environment on the example of student projects; secondly, analysis of the project process for creating motion graphics made using elements of traditional ornament and revealing the sound image of a musical composition created for an orchestra of folk instruments; in-third, the analysis of aspects of the development of elements of traditional ornament with examples of tools that implement a particular technology.In the course of the study, the analytical method of pre-project analysis, the formal-stylistic method of describing and analyzing the art form as the internal organization of the structure of the interaction of elements in the composition of a traditional ornament were applied, the experimental method of designing a multimedia composition was considered. As a result of the research, specific features of synthesizing a set of possible solutions in creating a design project with the active use of the sound component were identified. The role of sound/musical composition in the design of a multimedia project, the main methods, techniques of working with images and applying effects to create a comfortable existence and development of traditional ornamental motifs in a modern digital environment are analyzed. The technological aspect of creating a visual and sound composition was also analyzed.
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Stauskis, Vytautas. "EFFECT OF A RESONANT SUSPENDED CEILING ON THE ACOUSTIC PROPERTIES OF A HALL/REZONANSINIŲ KABAMŲJŲ LUBŲ ĮTAKA SALĖS AKUSTINIAMS RODIKLIAMS." JOURNAL OF CIVIL ENGINEERING AND MANAGEMENT 2, no. 7 (September 30, 1996): 64–69. http://dx.doi.org/10.3846/13921525.1996.10531658.
Повний текст джерелаАнотація:
The article covers the experimental research into basic acoustic properties of a hall using a new type resonant suspended ceiling with large area cross-shaped apertures between surfaces. The research was carried out at a physical simulator of a hall. Geometric parameters, frequency range of the simulator and availability of technical equipment were taken into consideration while selecting the scale of the simulator. A recording hall of the Lithuanian radio and TV's Grand Symphonic Orchestra was chosen for the purposes of research. The dimensions of the hall are 34×22×12.7 m. The scale of a simulator for such a large hall was established as 1:25. All the wall and floor surfaces of the simulator are made of textolite. Its coefficient of sound absorption at 10 kHz is equal to 0.15. The suspended ceiling is made of 6 mm thick plywood whereof all the contours had been lacquered 3 times. The orchestra's raised platform of 116 m2 floorspace was covered with 5–6 mm thick flannel which has coefficient of absorption of about 0.5–0.6. In this case the absorption of sound in the air and characteristics of materials are of no importance, as all the research results are relative. A block diagram was used for recording of sound signals at the simulator which diagram comprised a sound source, microphone, microphone's amplifier and analog-to-digital converter. A spark impulse was used as a sound source which impulse was formed by our made spark generator with preset necessary technical parameters. The research was carried out using a 1/4” microphone. An analog-to-digital converter had been manufactured according to preset characteristics. It was designed for changing analog signals into digital form for their further processing. The number of input channels can be set up from 1 through 8. The nominal level of the input signal is ± 1 V. The converter's discrimination is equal to 12 bits. Time of conversion is 2 μs. The quantization time is equal to 5 μs, whereas the quantization frequency is 200 kHz. The experimental simulator of a hall allows to determine the dependence of basic acoustic characteristics on the form of the apertures in the suspended ceiling, their surface, distance to the hard surface, absorbing material used in side and end walls and over the suspended ceiling, as well as on the distance from the source to the microphone. The research covered by this article determines the effect produced upon the acoustic coefficient by the distance between the suspended ceiling and the hard surface while the area of the cross-shaped aperture is not changed. During the research a measurement point was chosen near the sound source. The influence of the height of the suspended resonant ceiling upon the reverberation time is expressed only up to 160 Hz, however, a more expressive dependence has not been noticed. The decrease in the reverberation time at this range reaches 0.4–0.6 s. At frequencies of 200 and 250 Hz an expressly noticeable resonance is formed at which resonance the reverberation time is reduced even by 1.1 s., which is a large figure. Under further increase in the frequency the decrease is stable and reaches about 0.4 s. Such a decrease in the reverberation time with the expressive resonance at 200–250 Hz is dependent only on the crossshaped apertures in the suspended ceiling. This indicates that they have effect on the hall's acoustics. The decrease in the early reverberation time is most expressive at very low frequency up to 100 Hz and it reaches even 1–7 s. Resonance occurs again at 200 Hz, at which resonance the reverberation is decreased by up to 2.5 s and is not dependent on the height of the suspended ceiling. The early damping period of the sound field is basically dependent on the early sound reflections. They are of crucial importance while forming the subjective perception of a sound. The coefficient of the sound absorption depends on the height of the suspended ceiling and it is higher when the height of the ceiling is reduced. In all cases this coefficient has a resonant importance at 200–250 Hz. The coefficients of the absolute absorption are reduced because there is an increased reverberation time of the entire hall and surface area. The sound absorption is expressly increased only when the distance between the height of the suspended ceiling and the hard surface is 100 cm. At resonant frequencies of 200 and 250 Hz it is equal to 60 m2. The fidelity index of music is changeable from −14 dB at lower frequencies up to 0 dB at higher frequencies. The increase in the height of the suspended ceiling begins to have effect only from 200 Hz.
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Baker, Geoffrey. "‘Digital indigestion’: cumbia, class and a post-digital ethos in Buenos Aires." Popular Music 34, no. 2 (April 30, 2015): 175–96. http://dx.doi.org/10.1017/s026114301500001x.
Повний текст джерелаАнотація:
AbstractThis article focuses on three recent manifestations of cumbia in Buenos Aires, Argentina: digital cumbia released by ZZK Records; retro cumbia orchestras; and a newer strand of digital cumbia, música turra. The first two are identified with the middle class, whereas the third emerged from the clases populares (‘popular classes’). Música turra is underpinned by government policies towards digital inclusion, while middle-class incursions into the traditionally working-class sphere of cumbia, too, suggest increasing social cohesion. However, the digital fascination of música turra contrasts with an embrace of the analogue and acoustic in middle-class cumbia. These developments point to the emergence of a post-digital ethos and a shift from a digital to a post-digital divide, also running along class lines, analysed here through a Bourdieusian lens of taste and distinction. While transnational in nature, the post-digital ethos appears in Buenos Aires in a distinctive local form, articulated to growing Latin Americanism and post-neoliberalism on the part of the middle class.
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Abrams-Husso, Lucy. "Institutionalization of ‘Uptown': Contemporary Orchestral Music Practices in New York City 1960-1975." Trio 11, no. 1-2 (December 29, 2022): 11–38. http://dx.doi.org/10.37453/tj.120916.
Повний текст джерелаАнотація:
The aim of this paper is to investigate how contemporary music composition aesthetics and performance practices in orchestral music came to be defined and institutionalized in New York City through the 1960s and 1970s. The geographic distinctions commonly referred to as Uptown and Downtown identify separate networks of American contemporary music that sprouted in New York City already in the 1950s, and developed across the United States in the second half of the twentieth century. I propose that the division of contemporary music practices and the ultimate institutionalization of Uptown is inextricably linked to changing orchestral practices in New York City in the late 1960s and 1970s. Using the digital program archives from the New York Philharmonic and Carnegie Hall, I analysed contemporary programming in orchestral and large ensemble concerts from 1960 to 1975. Using this data, one observes that contemporary music programming decreased in this period, that the performance of contemporary music became less stylistically diverse, and that “contemporary music”, as a genre, came to be increasingly defined as European and modernist. I therefore conclude that changing orchestral practice was a major contributing factor in the division and institutionalization of contemporary musical practices in New York City.
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Boccardelli, Paolo, Chiara Acciarini, and Enzo Peruffo. "Dinamismo ambientale, esperienza digitale del board, e cambiamento strategico delle imprese. L'integrazione tra Dynamic Managerial Capabilities e Resource Dependence Theory." CORPORATE GOVERNANCE AND RESEARCH & DEVELOPMENT STUDIES, no. 2 (January 2022): 25–43. http://dx.doi.org/10.3280/cgrds2-2021oa12343.
Повний текст джерелаАнотація:
A partire dalla considerazione che il cambiamento strategico rappresenta una tema centrale negli studi di management e strategia, lo studio si propone di investigare le decisioni strategiche delle imprese in contesti caratterizzati da elevati livelli di dinamismo. Inoltre, l'introduzione in letteratura della variabile che misura l'esperienza digitale del board, intesa come rapporto tra membri con esperienza professionale in ambiti digital-related e il totale dei componenti del board, consente di valutare l'impatto sul metodo (fusioni e acquisizioni, alleanze strategiche e joint venture) e sull'ampiezza (diversificazione e internazionalizzazione) del cambiamento strategico. I risultati dimostrano l'associazione non solo tra maggiore dinamismo ambientale e cambiamento esperienza digitale del board e lo stesso cambiamento strategico d'impresa. Le implicazioni teoriche e pratiche consentono di apprezzare il coinvolgimento del board non solo nel controllo, ma anche nella direzione strategica dell'impresa, e di comprendere come le imprese decidano di orchestrare il proprio set di capacità dinamiche per allinearsi ai cambiamenti esterni.
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Serdaroglu, Emine. "Exploring the Use of Youtube by Symphonic Orchestras as An Educational Platform During the Pandemic of Covid-19." European Journal of Social Science Education and Research 7, no. 3 (December 12, 2020): 59. http://dx.doi.org/10.26417/770wga72a.
Повний текст джерелаАнотація:
The use of various digital platforms and social media applications has significantly been rising worldwide in the recent years. In 2020, during the covid-19 pandemic, many of these online platforms became important tools to support the distance learning especially for children, hence, underlying the need for authentic, safe, reliable, and easily accessible online resources of information. Before the pandemic, most of the renown symphonic orchestras have been offering to their community a wide range of educational music programs designed for various age groups from toddlers to adult listeners. Most of these orchestras also support official YouTube channels to self-promote and connect with a wider audience. YouTube is a popular social media application offering a rich selection of uploaded music video content which may be utilized as an easily accessible tool for music education. The aim of this research is to explore whether the symphonic orchestras share their expertise and educational content on their official YouTube channels to create safe and trustworthy resources designed particularly for children, thus supporting the online music education during the time of the covid-19 pandemic.
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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (October 1992): 185–92. http://dx.doi.org/10.2307/3345680.
Повний текст джерелаАнотація:
The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.
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Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011033.
Повний текст джерелаАнотація:
Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widely spread in military ensembles. This presentation looks into the factors that stalled the evolution of mainstream wind instruments during the 19th century, such as instrument affordability, practice habits, conservatory education practices, standardization, and cultural identification. While individual instrument makers and musicians continue to develop fundamentally new wind instruments, they no longer exceed experimental status. Instead, widespread innovations now focus on electronic and digital musical instruments.
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Brosig, Christoph, Susanne Strahringer, and Markus Westner. "From selling machinery to hybrid offerings – organizational impact of digital servitization on manufacturing firms." International Journal of Information Systems and Project Management 10, no. 3 (October 1, 2022): 5–27. http://dx.doi.org/10.12821/ijispm100301.
Повний текст джерелаАнотація:
The transition towards services has been imperative for manufacturing firms for years. The change from a product-oriented to a more service-dominant business model affects the organizational structure of firms. However, literature provides limited insights into how manufacturing firms organize themselves in this transition. Even though digital technologies are critical for the transition, it is unclear how to orchestrate digital and traditional Information Technology (IT) resources in manufacturing firms accordingly. We analyze the case of a typical manufacturing firm that has adjusted its structure to reorganize for solution offerings based on product, service, and digital components. Our results describe a hybrid organizational structure that splits front- and back-end units. The back-end units are split along solution components. Digital IT resources are internalized and governed decentrally, with traditional IT resources being outsourced and steered centrally. Our findings contribute to digital servitization research by clarifying the overarching as well as the digital and traditional IT-related organization for manufacturing firms.
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Clauhs, Matthew, Brian Franco, and Radio Cremata. "Mixing It Up: Sound Recording and Music Production in School Music Programs." Music Educators Journal 106, no. 1 (September 2019): 55–63. http://dx.doi.org/10.1177/0027432119856085.
Повний текст джерелаАнотація:
Recent advances in music technology include practical tools for sound recording and production in school music classrooms. Secondary school music production classes allow students to make meaningful connections between school music and the music in their own lives. We offer several projects for teaching music production and sound recording; provide examples of authentic, performance-based assessments; and identify opportunities for collaboration through digital means. These projects are particularly well aligned with the United States’ Core Arts Standards related to creating music and may widen the door for students who are less interested—or less able to participate—in traditional bands, orchestras, and choirs or music appreciation electives.
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Abdokov, Yuri B. "“Music for Strings” by Revol Bunin: Style, Timbral Poetics and Interpretation." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 91–108. http://dx.doi.org/10.35852/2588-0144-2022-1-91-108.
Повний текст джерелаАнотація:
The article examines the timbral poetics of “Music for Strings” by Revol Samuilovich Bunin (1924–1976). This score captures the most important features of the composer’s instrumental style. There feels a lack in serious systematic research of Bunin’s life and legacy. Thus it is required the coordination of historical and biographical information. For the first time, the memoirs and analytical opinions of famous contemporaries who closely communicated with the composer are introduced into scientific circulation. This largely clarifies his personality in life and music. The detailed analysis of textural plasticity, timbral dramaturgy, “tonal-light”, coloristic, articulatory-agogic, spatial-perspective properties of “Music for Strings” reflects an attempt of the first morphological study of the score. But which is more important – the practical results of its concert “revival” and premiere digital recording. An extraordinary type of timbral continuation is considered as a defining phenomenological aspect distinguishing Bunin’s orchestral style. In “Music for Strings” this orchestral feature is embodying the image of a peculiarly condensed chronos of the composition. A detailed examination of the most important elements of timbral poetics and stylistic means of expression allowed us to determine the basic principles of studying and conducting interpretation of “Music for Strings” and other works of the artist.
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Pandya, Jessica Zacher, Kathleah Consul Pagdilao, Aeloch Enok Kim, and Elizabeth Marquez. "Transnational Children Orchestrating Competing Voices in Multimodal, Digital Autobiographies." Teachers College Record: The Voice of Scholarship in Education 117, no. 7 (July 2015): 1–32. http://dx.doi.org/10.1177/016146811511700707.
Повний текст джерелаАнотація:
Background/Context Prior research on multimodal, digital composition has highlighted the need for educators to bring such practices into classrooms, yet little research has been done to show what kinds of products children create and what those products can tell us as researchers about how children articulate their life experiences. We draw on recent theorizations of transnationalism in relation to immigrant children's school experiences, and Bakhtinian perspectives on language and ideology, to frame our analysis of the identity work that transnational and immigrant children undertook in the multimodal, digital composition projects we analyze. Purpose/Objective We analyzed 18 digital videos made by transnational children aged 8–10, asking what the key features of their narratives told us about what they found important in their lives, what voices were orchestrated in the composition of those narratives, and what voices were omitted. We also asked what students’ narratives told us about who they were and wanted to be, as immigrants or children of immigrants. Finally, we asked what these features and omissions suggested about perspectives on their immigration experiences and current lives. Research Design These data come from an ongoing, design-based research project. Qualitative methods were employed, including: interviews with and surveys of children and teachers at various stages of the video production process; collection of children's written work; collection of children's videos; and the writing of field notes and analytic memos. Conclusions/Recommendations Asking children to write about themselves for teachers, peers, and parents meant asking them to orchestrate multiple voices into potentially contradiction-ridden, yet coherent stories. Our work so far suggests that, at the least, we should expect children to try out new identities, and seek new ways of orchestrating the voices in their lives into a coherent whole. We caution researchers and teachers who work with immigrant youth not to assume that immigration will necessarily be a pivotal moment, or even a central or important moment, to children. We also caution that children may not feel that their school is a safe place to talk about such issues; offering the space is all we can do. The kinds of composition we have described exceed the narrative writing and speaking and listening demands of the Common Core State Standards. Teachers should be aware of the ways multimodal, digital composition can help meet their immigrant students’ self-authoring needs and surpass the demands of the new standards. Finally, to connect with others, to become more aware of one's place(s) in an increasingly globalized world, and to orchestrate competing voices—these are the potentials for multimodal, digital composition with immigrant youth to which we continue to aspire.
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Bonnat Catherine and Eric Sanchez. "Toward a Digital Companion to Monitor a Mixed Reality Game." International Journal of Serious Games 9, no. 3 (September 9, 2022): 5–21. http://dx.doi.org/10.17083/ijsg.v9i3.504.
Повний текст джерелаАнотація:
The game orchestration by the game master during a game-based learning session requires to (1) collect data from player interactions, (2) visualize indicators built with this data, (3) take decisions regarding the monitoring of the activity and (4) interact with players. The complexity of this monitoring increases with mixed-reality games due to the multiplicity of possible interactions with tangible and digital game elements. This article deals with playing analytics and the design of a digital companion to help a game master to orchestrate Geome, a mixed-reality game dedicated to museum school visits. The prototype is the result of a co-design process between researchers, practitioners, and computer scientists. This work allowed us to (1) define the interactions established during the use of the game that should be traced for the game master and (2) test the prototype with 3 classes (12-15 years old). We found that, while the players play the game as intended using most of the features, the game master makes little use of his dashboard and doesn’t interact with players through the dedicated interface.
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Davids, Ziyaad, and Diana Sabrain. "The digital Halal era: A look into the new normal." Ekonomski izazovi 11, no. 22 (2022): 10–17. http://dx.doi.org/10.5937/ekoizazov2222010d.
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As the US $8 trillion global food supply chain is adapting to a post Covid-19 world becoming the new norm, so too is the Halal food system experiencing radical evolution and progression. As innovative technologies spawn new services and digital models, they also strengthen the transparency and integrity of Halal processes and certification and provide the capabilities to establish international Halal best practices alongside mainstream food industry sectors. Awareness is growing of the need to establish Halal systems and regulatory frameworks that will better ensure public interest, including consumer protection and confidence, whilst also advancing towards a viable digital Halal economy. Digital globalization has enabled globally accessible marketplaces where convergences towards digital economies have improved efficiencies as well as developed and strengthened interdependent relationships between services and networks. Rejeb states that, "the combination of blockchain and IoT technologies can be used as a powerful tool to orchestrate Halal food processes and ensure self-organized, transparent and smarter Halal Food Supply Chains (HFSCs). Leveraging blockchain with IoT technologies in the Halal food industry thus holds the potential to restructure conventional ways of managing Halal food traceability, promoting more credibility and trust in Halal certification, and ultimately boosting the Halal economy." (Abderahman Rejeb, 2021) We are in a new digital era of Halal and this paper will discuss the economic impact of a digital Agri & Halal ecosystem and what the essential determinants are to its holistic long-term success.
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fink, robert. "the story of orch5, or, the classical ghost in the hip-hop machine." Popular Music 24, no. 3 (October 2005): 339–56. http://dx.doi.org/10.1017/s0261143005000553.
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perhaps the first digital sample to become well known within popular music was actually a piece of western art music, the fragment of stravinsky's firebird captured within the fairlight computer musical instrument, the first digital ‘sampler’, as ‘orch5’. this loud orchestral attack was made famous by bronx dj afrika bambaataa, who incorporated the sound into his seminal 1982 dance track, ‘planet rock’. analysis of kraftwerk's ‘trans europe express’, also sampled for ‘planet rock’, provides an interpretive context for bambaataa's use of orch5, as well as the hundreds of songs that deliberately sought to copy its sound. kraftwerk's concerns about the decadence of european culture and art music were not fully shared by users of orch5 in new york city; its sound first became part of an ongoing afro-futurist musical project, and by 1985 was fully naturalised within the hip-hop world, no more ‘classical’ than the sound of scratching vinyl. to trace the early popular history of orch5's distinctive effect, so crucial for early hip-hop, electro, and detroit techno, is to begin to tell the post-canonic story of western art music.
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Pacheco, Mark B., Blaine E. Smith, Amber Deig, and Natalie A. Amgott. "Scaffolding Multimodal Composition With Emergent Bilingual Students." Journal of Literacy Research 53, no. 2 (May 10, 2021): 149–73. http://dx.doi.org/10.1177/1086296x211010888.
Повний текст джерелаАнотація:
Digital multimodal composition offers opportunities for emergent bilingual (EB) students to orchestrate semiotic resources in ways that develop their identities, strengthen their understandings of language, and help them to engage with content. To better understand how EBs can participate in varied multimodal composing practices, this study systematically reviews the literature on EBs’ digital multimodal composing in secondary classrooms. More specifically, it examines types of scaffolds, or planned and responsive instructional supports, used by teachers and students, as well as functions for learning associated with these scaffolds. Through an inductive approach, the authors analyzed 74 studies situated in classrooms. Findings showed seven types of scaffolding: collaboration, direct instruction, exemplar texts, translanguaging, discussion, encouragement, and questioning. In addition, eight scaffolding functions emerged that illustrate three major themes of scaffolding identities, scaffolding resources, and scaffolding contexts. The authors then discuss implications for classroom practice, implications for translanguaging and social semiotics theories, and directions for future research.
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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (December 1994): 331–42. http://dx.doi.org/10.2307/3345740.
Повний текст джерелаАнотація:
Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.
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Hermes, Sebastian, Tobias Riasanow, Eric K. Clemons, Markus Böhm, and Helmut Krcmar. "The digital transformation of the healthcare industry: exploring the rise of emerging platform ecosystems and their influence on the role of patients." Business Research 13, no. 3 (September 11, 2020): 1033–69. http://dx.doi.org/10.1007/s40685-020-00125-x.
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AbstractWhile traditional organizations create value within the boundaries of their firm or supply chain, digital platforms leverage and orchestrate a platform-mediated ecosystem to create and co-create value with a much wider array of partners and actors. Although the change to two-sided markets and their generalization to platform ecosystems have been adopted among various industries, both academic research and industry adoption have lagged behind in the healthcare industry. To the best of our knowledge current Information Systems research has not yet incorporated an interorganizational perspective of the digital transformation of healthcare. This neglects a wide range of emerging changes, including changing segmentation of industry market participants, changing patient segments, changing patient roles as decision makers, and their interaction in patient care. This study therefore investigates the digital transformation of the healthcare industry by analyzing 1830 healthcare organizations found on Crunchbase. We derived a generic value ecosystem of the digital healthcare industry and validated our findings with industry experts from the traditional and the start-up healthcare domains. The results indicate 8 new roles within healthcare, namely: information platforms, data collection technology, market intermediaries, services for remote and on-demand healthcare, augmented and virtual reality provider, blockchain-based PHR, cloud service provider, and intelligent data analysis for healthcare provider. Our results further illustrate how these roles transform value proposition, value capture, and value delivery in the healthcare industry. We discuss competition between new entrants and incumbents and elaborate how digital health innovations contribute to the changing role of patients.
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Öman, Anne, and Sylvana Sofkova Hashemi. "Design and Redesign of a Multimodal Classroom Task – Implications for Teaching and Learning." Journal of Information Technology Education: Research 14 (2015): 139–59. http://dx.doi.org/10.28945/2127.
Повний текст джерелаАнотація:
Digital technologies are increasingly implemented in Swedish schools, which impact on education in the contemporary classroom. Screen-based practice opens up for new forms and multiplicity of representations, taking into account that language in a globalized society is more than reading and writing skills. This paper presents a case study of technology-mediated instruction at the primary-school level including an analysis of the designed task and how the teacher orchestrated the digital resources during three introductory classes. The aim was also to explore the pupils’ redesigning of advertising films based on teacher’s instructions and available digital resources. Sequences of a learning trajectory were video recorded and analysed from a multimodal perspective with a focus on the designed task and the processes of how pupils orchestrate meaning through their selection and configuration of available designs. The findings show a distinction between the selection of design elements in the teacher’s orchestration of the laptop resources during instruction and the pupils’ redesigning of the task. Pupils’ work developed from the linguistic design provided by the teacher towards visual design and the use of images as the central mode of expression in the process of creating advertising films. The findings also indicate a lack of orientation towards subject content due to the teacher’s primary focus on introducing the software.
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Urbano, Nicoletta, Manuel Scimeca, Elena Bonanno, and Orazio Schillaci. "Preclinical Investigation of Radiopharmaceuticals: An Accurate and Multidisciplinary Approach." Current Radiopharmaceuticals 15, no. 2 (June 2022): 157–63. http://dx.doi.org/10.2174/1874471014666211209154317.
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Background: The development of less expensive and pivotal methodologies capable of supporting the researchers in the radiopharmaceutical pre-clinical investigations could provide a crucial incentive for conducting biomedical research involved in the realization of tailored target therapies. Objective: The aim of this pilot study was to evaluate the capability of a digital autoradiography system equipped with a laser scanning device to perform [18F] choline biodistribution evaluation in a xenograft mouse model of prostate cancer. Methods: PC3 prostate cancer cells were used to develop NOD/SCID mice xenografts. The biodistribution of the radiopharmaceuticals was evaluated at 30, 60, and 120 min after injecting in excised organs by using a digital autoradiography system equipped with a super-resolution laser screen. Histological and immunohistochemical analyses were performed to correlate the [18F] choline uptake with morphological and molecular tumours characteristics. Results: The reported data clearly indicate the possibility of performing accurate biodistribution studies using the digital autoradiographic system equipped with a super-resolution screen. Specifically, a significant increase in the [18F] choline inhibitor uptake in PC3 tumours compared to heart, bowel, liver, and kidney at both 30 and 60 min was observed. More importantly, the digital autoradiographic system showed signal uptake almost exclusively in the PC3 tumors at 60 min post-injection. Noteworthy, immunohistochemical analysis demonstrated a strong overlapping between the [18F] choline uptake and the proliferation index (Ki67 expression). Conclusions: The use of an autoradiography system in pre-clinical investigations could shed new light on the molecular mechanisms that orchestrate the tissues damage induced by therapeutical radiopharmaceuticals.
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Viljoen, Salomé, Jake Goldenfein, and Lee McGuigan. "Design choices: Mechanism design and platform capitalism." Big Data & Society 8, no. 2 (July 2021): 205395172110343. http://dx.doi.org/10.1177/20539517211034312.
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Mechanism design is a form of optimization developed in economic theory. It casts economists as institutional engineers, choosing an outcome and then arranging a set of market rules and conditions to achieve it. The toolkit from mechanism design is widely used in economics, policymaking, and now in building and managing online environments. Mechanism design has become one of the most pervasive yet inconspicuous influences on the digital mediation of social life. Its optimizing schemes structure online advertising markets and other multi-sided platform businesses. Whatever normative rationales mechanism design might draw on in its economic origins, as its influence has grown and its applications have become more computational, we suggest those justifications for using mechanism design to orchestrate and optimize human interaction are losing traction. In this article, we ask what ideological work mechanism design is doing in economics, computer science, and its applications to the governance of digital platforms. Observing mechanism design in action in algorithmic environments, we argue it has become a tool for producing information domination, distributing social costs in ways that benefit designers, and controlling and coordinating participants in multi-sided platforms.