Дисертації з теми "Music Production Studio"
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Thompson, Robin L. "The production of gospel music: An ethnographic study of studio-recorded music in Bellville, Cape Town." University of the Western Cape, 2015. http://hdl.handle.net/11394/4858.
Повний текст джерелаThis thesis explores the production of music with musicians, singers and music producers who adhere to and promote Pentecostalist Christianity. The music they produce is a recently emerged genre, which I call 'Pentecospel'. I have coined this term to refer to a contemporary form of religiously inspired popular music, which is performed by young musicians belonging to various Pentecostal churches in Cape Town. I argue that 'Pentecospel' music is an emergent social form of self-representation, which is framed around Pentecostalism and the sound of Cape Town, as identified by Martin (2013). Young musicians and singers in Cape Town are absorbing and appropriating global styles of music, concepts and beliefs and music making techniques within their own musical compositions and transform their music performances in a way that enhances their local popularity. Thus, I elaborate on the processes of production through technical and social interpretations. This thesis will explore how performance, engaging audiences, the social interaction between people and technology, and the creation of their own unique sound on their musical instruments are linked to visual approaches located in the anthropology. This thesis is based on ethnographic fieldwork which took place mostly between December 2014 and February 2015. During this period, I worked with music producers and young people who have recorded at the 'Sounds of the Nations Africa: Cape Town' recording studio in Bellville, Cape Town, sharing their experiences of everyday life in and outside the studio. My three month long fieldwork included in-depth interviews, conversations and discussions, photographic and video material, and activity field notes. I made use of these methods in order to record my observations in the recording studio, during rehearsals and in public performances focusing on the social and musical interaction with the performing artists I got to know, through participant observation. I include my own participation as a musician and audience member with the use of these methods, in recording music in the 'Sounds of the Nations' recording studio for their upcoming album "Sound of Africa" and in public performances.
Wilmering, Thomas. "Applications of Semantic Web technologies in music production." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9078.
Повний текст джерелаPolk, Darrel Maurice. "Home Studio Owners' Strategies to Compete in the Recording Industry." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6856.
Повний текст джерелаLaube, Jacob M. "Understanding artist development: How do producers support the development of artists through the production process?" Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107899/2/Jacob_Laube_Thesis.pdf.
Повний текст джерелаWatson, 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.
Повний текст джерелаAnthony, 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.
Повний текст джерелаThesis (Masters)
Master of Music (MMus)
Queensland Conservatorium
Arts, Education and Law
Full Text
Pinto, Waldir de Amorim 1971. "O estúdio não é o fundo de quintal = convergências na produção musical em meio às dicotomias do movimento do pagode nas décadas de 1980 e 1990 = The recording studio is not the backyard: convergences in the record production amid the dichotomies of the pagode movement in the 1980s and 1990s." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284481.
Повний текст джерелаTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T03:50:36Z (GMT). No. of bitstreams: 2 Pinto_WaldirdeAmorim_D.pdf: 1276240 bytes, checksum: 8a86b876e4f1a39e8d680c931ea6e7b2 (MD5) Pinto_WaldirDeAmorim_Anexo.zip: 100462299 bytes, checksum: d1dd90b2bae3cd94ad8bcc39bca911d8 (MD5) Previous issue date: 2013
Resumo: Esta pesquisa teve por finalidade identificar convergências nos trabalhos de mediação dos produtores musicais envolvidos com o movimento do pagode nas décadas de 1980 e 1990. O samba apresentado nas rodas de pagodes nos anos de 1980, e que ficou comercialmente conhecido como pagode - ou "samba de raiz", mais recentemente -, é caracterizado por musicólogos como representante das comunidades restritas e da tradição do samba. Da mesma forma, os musicólogos costumam caracterizar os artistas que emergiram na década de 1990 - e que tiveram seus trabalhos classificados como pagode - como incorporadores de elementos estrangeiros e modernos ao samba, num "novo" pagode que ficou conhecido como "pagode romântico". A despeito destas dicotomias que envolvem o pagode, ao passar por um estúdio de gravação a música de ambos os segmentos (e períodos) reflete um processo de mediação; e as figuras dos produtores musicais são responsáveis por isso, no âmbito da indústria fonográfica. Utilizando-se da análise de fonogramas de artistas ligados ao pagode (de ambas as décadas) e de entrevistas semi-estruturadas com os produtores musicais daqueles artistas, foi possível identificar algumas estratégias, objetivos e padrões de produção musical que deixam as fronteiras préestabelecidas menos nítidas. Dessa forma pôde-se concluir que, além das dicotomias, há muitas convergências que permitem avaliar o pagode de maneira menos segmentária e mais independente do discurso moderno-tradicional, hibridoautêntico, nacional-internacional que vêm pautando os estudos sobre o assunto; e é quando se analisa o pagode sob o prisma do produtor musical que se identifica o mercado como diminuidor de fronteiras e integrador de pólos distintos
Abstract: This research aimed to identify convergences in mediation work of record producers during the movimento do pagode of the 1980s and 1990s. Samba made in the rodas de pagode in the 1980s, commercially known as pagode - more recently called rootsy samba -, is characterized by musicologists as the representative of restricted communities and samba tradition. Likewise, musicologists often characterize the artists that emerged in the 1990s - and had their work classified as pagode - as incorporators of foreign and modern elements to the samba, creating a "new" pagode which became known as "romantic pagode". Despite these dichotomies involving the pagode, passing the music of both segments (and periods) by a recording studio reflects a process of mediation and the figures of record producers are responsible for that within the music industry. Through the analysis of repertoire of artists connected with the pagode (in both decades) and semi-structured interviews with the record producers of those artists it was possible to identify some strategies, objectives and standards of record production that leave the pre-established boundaries less clear. Thus it can be concluded that besides the dichotomies there are many convergences for assessing the pagode in a less segmental speech - more independent of the modern-traditional, hybrid-authentic, national-international discussions that have been basing the studies on the subject. Analyzing the pagode through the prism of the record producers makes possible to identify the market as borders subtractor and distinct poles integrator
Doutorado
Fundamentos Teoricos
Doutor em Música
Huschner, Roland. "„[…] if it would be me producing the song…“." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17606.
Повний текст джерелаThis dissertation attempts to adequately represent and explain the complex field-specific processes which take place in the recording studios of popular music production during the creation of configurations of sound. Using participant observation in Berlin-based recording studios for data collection, this data was analyzed by utilizing and modifying the works of Pierre Bourdieu and Michel Foucault. In contrast to Bourdieu’s claims that fields have an identical structure, the field of popular music production is quite unique in its workings and cannot be explained in such a manner. Based on these findings, a partially different model and terminology is being developed. Most of the used data is available as (German) transcription in the appendix.
Roberts, Rebecka. "Inspelningsteknik och inspelningsmiljö : hur spelar man in Bluegrass?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1946.
Повний текст джерелаEn inspelning från varje tillfälle medföljer, totalt tre inspelningar.
Den första är låten "Ill Fly Away" från utomhusinspelningen.
Den andra låten är "Man of Constant Sorrow" från studioinspelningen.
Den tredje låten är "Will the Circle Be Unbroken" från livekonserten.
Videodokumentären och musikvideos från respektive tillfälle finns på www.rebeckaroberts.com
Nikolausson, Levi. "Plugins: hjälp eller stjälp? : en undersökande studie." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73956.
Повний текст джерелаBidgood, Lee. "River Song (musical theater production)." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.
Повний текст джерелаElwerdotter, Tuva-Lill. "Meningslager i musiken : En studie om egna konstnärliga processer inom låtskrivning och musikproduktion." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4081.
Повний текст джерелаThe purpose of this study has been to introspectively examine which musical and creative aspects are important to me in my artistic expression, and how these aspects have affected me as a music producer. I have also examined my artistic working process and which methods are more or less favorable. With a theoretical starting point in the philosopher Martin Heidegger's theory of the origin of the work of art, and the theories of layers of meaning in the musical object by the professor in musical education Fred V. Nielsen, I have chosen to analyze three songs within my artist project - LiLL. By analyzing these songs, I have seen how important it is for me that the three layers of meaning, emotions, tension and kinetics / bodily, are connected and how I use visions and inner images to relate to the abstract creation of music in DAW:s. This study has led to insights regarding my artistic working process which are that my musical process benefits from collaborations and, in affordance with Heidegger's theory, that I create myself as a music producer by creating music at the same time as my musical ability develops by creating music.
Eriksson, Hult Elina. "Kreativt samarbete och individuellt skapande : En jämförande studie om samtida musikproduktion och låtskrivning." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3581.
Повний текст джерелаThe purpose of this project was to compare individual and collaborative work, and to study how the different forms of work methods mentally affected me and the participants. The method used is the implementation of three sub-studies which included projects where I created music with others and individually, as well as an interview study. One experience from this project is that, when it comes to collaborative and individual work within music creation, each situation is unique. One result is that the differences between how the various working methods are experienced, depends on several factors. These factors include, who is participating, what task is to be solved, the relationship between the participants and what time frames apply. For me, an important insight has been that I prefer working both individually and collaboratively. To be able to make music productions and achieve my artistic goals, I need to, socialize with others, share and create ideas with different people, as well as the opportunity to work individually to be able to create music freely without taking anyone else into consideration.
Ventura, Dawna A. (Dawna Ann) Carleton University Dissertation Sociology and Anthropology. "Opera and the social production of meaning; a cultural studies analysis of "Aida."." Ottawa, 1996.
Знайти повний текст джерелаMeynell, 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/.
Повний текст джерелаRostedt, Marcus. "Lärares kompetens och lärande : En Kvalitativ studie om lärares syn på ämneskunskaper i musikproduktion." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48040.
Повний текст джерелаMusikproduktion är ett relativt nytt ämne på gymnasiet som ställer höga krav på lärarens kompetens inom många kunskapsområden, till exempel ljudteknik, komposition, arrangering samt ledarskap. En musiklärarutbildning med fördjupad inriktning mot musikproduktion startades inte förrän 2011 så undervisande lärare med examen före 2015 saknar formell utbildning i ämnet. Syftet med studien är att belysa lärares syn på vad som krävs för att undervisa i ämnet musikproduktion på gymnasiet samt hur tillämpningen av deras kunskaper kan te sig i undervisningen. Studien består av fyra kvalitativa intervjuer med lärare som undervisar i musikproduktion på gymnasiet. Studien visar att lärare behöver vara multikompetenta för att undervisa i ämnet musikproduktion. Utöver sedvanliga musikkunskaper så måste de ha betydande kunskaper om musikteknologi samt vara insatta i dagens musikaliska trender och kulturer. Studien visar att det finns stora fördelar med att kunna spela ett eller flera instrument som musikproduktionslärare och att ha erfarenhet av musikbranschen anses vara ett måste för att kunna göra undervisningen så verklighetstrogen som möjligt. Utmaningen för dagens musikproduktionslärare är att de ständigt måste utveckla sina kunskaper för att bidra med en meningsfull och verklighetsförankrad undervisning i en ständig föränderlig musikbransch.
Bidgood, Lee. "Bill Monroe and Czech Bluegrassers: Imagination and the Production of Place in Music." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1037.
Повний текст джерелаAlmqvist-Ingersoll, Petter. "Conceptually androgynous : The production and commodification of gender in Korean pop music." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-161973.
Повний текст джерелаOlson, Ted. "Book Review of Michael Jarrett: Producing Country: The Inside Story of the Great Recordings." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1178.
Повний текст джерелаMascarenhas, Domingos Catalim Telles da Gama de. "Music, politics and the Japanese challenge : two case studies in the politics of musical production." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403055.
Повний текст джерелаSaleh-Hanna, Viviane. "Lyrical passages through crime : an Afrobeat, Hip Hop and Reggae production, featuring black criminology /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3278476.
Повний текст джерелаSource: Dissertation Abstracts International, Volume: 68-10, Section: A, page: 4488. Adviser: Philip C. Parnell. Title from dissertation home page (viewed May 20, 2008).
Heitmann, Bo-Lennart. "Full-stack musik : En studie om back-end, front-end och full-stack terminologi inom låtskapande och musikproduktion." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4058.
Повний текст джерелаThe purpose of this master’s thesis is to present the process and experiences of my music production project that was carried out during the last year of my masters’ studies. The project’s creative content is a Swedish pop album which created through collaborative and independent work. Three single releases and one music video have been released and distributed through the course of the project on streaming platforms such as Spotify and YouTube. In addition to the making of the album I have chosen to create a model to use as a frame for potential recruitment instances of creative collaborations, improve role definition and develop a more accurate method to credit rights holder’s moral credentials as a contributor to an artistic work. The root cause of this model is that a music producer often finds themselves as a multicompetent keyperson in creative collaborations where the lines between different professions overlap. The model is inspired of the software developers job terminology and aims to break up umbrella concept roles such as “songwriter, producer and performer” to facilitate the recruiting process of creative collaborations within the crafting of songs. The terminologies inspired out of the software developer’s professions are back-end, front-end and full-stack.
Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.
Повний текст джерелаTitle from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).
Van, Dyne Steven R. "Case Studies in Classical Location Recording Using Improvised Techniques." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429807114.
Повний текст джерелаRolsten, Kathy K. "The Performance Production Process of an Outstanding High School Choir." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3321.
Повний текст джерелаPortnoff, Linda. "Control, cultural production and consumption : theoretical perspectives, empirical dilemmas, and Swedish music industry practices." Doctoral thesis, Stockholm : Economic Research Institute, Stockholm School of Economics [Ekonomiska forskningsinstitutet vid Handelshögskolan i Stockholm] (EFI), 2007. http://www2.hhs.se/efi/summary/742.htm.
Повний текст джерелаAmatokwu, Buashie. "An Afrocentric Analysis of Hip Hop Musical Art Composition and production: Roles, Themes, Techniques, and Contexts." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/16261.
Повний текст джерелаPh.D.
This thesis investigates the roles, themes, techniques and contexts of composition in hip-hop. It seeks to explain how hip-hop artists view and define their work, while also taking into consideration the viewpoints of other participants in the marketing pool of hip-hop production and consumption. The conceptual plan on which the study is based is Afrocentric; coupled with Ethnographic method of data processing and interpretation. This method is comprised of personal interviews, participant observation, sonic analysis and the use of bibliographic entries and notes that allows for sense and meaning in text. Also used are documented data, which contain descriptions of hip-hop lyrics, interviews, opinions, journalistic notes, and scholarly reports as a means of evolving a cohesive sense of the message's intent, opinion, knowledge of its roles, themes, techniques, images, and contexts The study found that the issues and themes that dominate hip-hop include bondage impairment, concern over currently warped social values and trends, and challenges over oppressive cultural values and social institutions. The artists whose compositions and renderings were used for the purpose of this study not only demonstrated an ability to isolate and construct themes about issues, but were also familiar with the issues that reveal them as agents for the liberation of the minds of their Diaspora Africa peoples and communities. Their music and grassroots commentaries were found to be appropriately designed to persuade their targeted audience to greater awareness. They conveyed messages that encouraged positive attitude and behavioral change in respect to addressed themes that were, in the main, issues of disenfranchisement. They addressed negative, disapproving behaviors which the atmosphere of disenfranchisement has spurned, and were being expressed through the media of the hip-hop rap musicals. The study also highlights the connection between classical African musical expressions and postmodern Diaspora African musical innovations.
Temple University--Theses
Tallroth, Linus. "Etablerade produktionsprocesser inom housemusik : En studie om musikproducenters produktionsprocesser vid skapande av elektronisk dansmusik i form av house." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24569.
Повний текст джерелаNogar, Julianne K. "Costume Design and Production for Legally Blonde the Musical book by Heather Hach,Music and Lyrics by Nell Benjamin and Laurence O’Keefe." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555364601372494.
Повний текст джерелаSmith, Jacob H. "Maretzek, Verdi, and the Adoring Public: Reception History and Production of Italian Opera in America, 1849-1878." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462983831.
Повний текст джерелаFärnqvist, Johanna. "Barnteater - inte bara ”målad”… : En studie om hur barnteater kan se ut idag och hur en bra barnteaterföreställning ska vara enligt barn, lärare och medverkande." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4863.
Повний текст джерелаSyftet med det här arbetet är att undersöka hur barnteatern kan se ut idag och om den uppfyller barnens krav.
Observationer gjordes på tre slumpmässigt utvalda barnföreställningar för lågstadiet. Därefter intervjuades medverkande och publik som i detta fall bestod av barnen och dess lärare. Intervjufrågorna behandlade dels hur medverkande tänker inför en föreställning för barn och hur publiken uppfattade den, dels hur de anser att en bra barnföreställning bör vara.
Resultatet i undersökningen visar några tydliga tendenser. De tre barnföreställningarna höll en god kvalitet i avseende på framförande, musik och dekor. Men barn är ofta ovana teaterbesökare och har svårt att ta in information genom bara iakttagande. Därför behöver de en annan typ av föreställning än de tre jag observerade. En föreställning med mera delaktighet.
The purpose of this study is to investigate the current state of children’s theatre, and if it meets the needs of the children.
Observations were carried out in three randomly chosen children’s theatre performances. After the observations, performers and the audience - in this case, children and their teachers - were interviewed. The questions dealt with how performers think prior to a performance for children, and how the audience reacted to it, in addition to how they think a good children’s theatre performance should be.
The result of the study indicates some clear tendencies. The three children’s theatre performances received good reviews with regard to performance, music and décor. But children are seldom familiar with the theatre and have trouble attaining information through watching alone. Thus, they need a different kind of theatrical performance than the three I observed. A performance in which they are more involved in the action.
Singer, Stacey Lynn. "I'm Not Loud Enough to be Heard: Rock 'n' Roll Camp for Girls and Feminist Quests for Equity, Community, and Cultural Production." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07072006-134812/.
Повний текст джерелаTitle from title screen. Susan Talburt, committee chair; Kathryn McClymond, Layli Phillips, committee members. Electronic text (145 p.) : digital, PDF file. Description based on contents viewed May 16, 2007. Includes bibliographical references (p. 120-131).
Alm, Sebastian, Max Axelsson, and Larsson Denice Marquez. "Låtfabriken : En studie av upphovspersoners identifiering med sitt arbete i produktionsmusiksektorn." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49664.
Повний текст джерелаThis essay aims to examine how composers who specializes in production music identify themselves with their composing and work, this with help from the organisations that they support themselves through. The two organisations are STIM, The Swedish Composers International Musicbureu, or Epidemic Sound. The difference between the two are mainly that with STIM the composers let them manage the administration and to collect their income with Epidemic Sound is that they sell their righs to Epidemic Sound for a flat-fee. Because of this transaction the composition is now owned by the company and they can rent it out to other production companies who would like to have the music in their productions. To the study four composers from STIM, four composers from Epidemic Sound, one publisher and one representative from STIM have been interviewed. In the report it emerges that the composers that are from STIM have worked with music for a long time, the work is almost like their destiny, they see their compositions as artwork than as a craftmanship, they put big value to the copyright law, and the commission is a secondary reason to why they do what they do. The composers for Epidemic Sound on the other hand see their work more like craftmanship and the more secure salary are the reason why the composers choose Epidemic Sound. With the help from organizational-, motivational- and identitybased theories connections has been made between the theories and revenue model. This study shows that there’s been a change within the swedish market for production music since Epidemic Sound was founded in 2009. A change has occurd regarding the institutionalized approach to traditionally license music to production companies. This change has given a new type of composers with another work identity an opportunity to provide themselves on their music. This has been detected by studying how the composers identify themselves with their work and their composing depending on what revenue model they choose.
Gallo, Rafael Eduardo. "As trilhas musicais originais do cinema brasileiro após a retomada: os compositores e seus processos de criação e produção." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-17112015-101726/.
Повний текст джерелаThis research aims at studying the setting of composition and production of musical scores for the Brazilian cinema since the period called as Retomada until nowadays, by analyzing how the technological transformations in music and film production, the renovations in the cast of professionals and artists involved in movies and in the music market, the reinstatement of movie production based on financial incentive laws created on the 1990s and other contingencies have collaborated to solidify new models of film scores production in the contemporary years. The present moment of Brazilian cinematographic market is marked by meaningful reconfigurations in the production chains, with the predominance of organization models characterized by the \"project by project\" productions, in which is common a reduction of the professional and logistic structure. Music composers are to be distinguished in this setting, for their contemporary profile is very different than the traditional figures, who used to be musicians aligned to the classical music practices, with works based in musical notation and without much direct relationship with the technical apparatus of analog recording and editing. Music composers and producers nowadays, because of the technological advances in digital audio tools, the lower costs of the equipment and the transformations in the movies, music and publicity markets, are characterized, in general, for creating their music in digital production environment, commonly allying composition, recording, execution, editing, mixing and synchronization with the image in the same process. They are, mostly, owners of their recording studios or audio producing companies and are very self-sufficient, concentrating in their own work a lot of tasks that would require a greater number of professionals and a more complex structure of production before, which were impracticable many times in the earlier cinematographic reality of the country.
Allen, Matthew. "The belt’s got soul! an investigation into the vocal characteristics of r&b/soul singing and the production of the ‘belt voice’ within this style." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2766.
Повний текст джерелаPeck, RaShelle R. "Imperfect Resistance: Embodied Performances in Nairobi Underground Hip Hop." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397664120.
Повний текст джерелаChristensen, Daniel. "Stereotyper i toner : Musikens roll i konstruktionen av stereotyper i svensk film under 1990- och 2000-talet." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200618.
Повний текст джерелаAlexandersson, Viktor, and Adrian Faber. "Kritisk design i en digital videoproduktion : En explorativ studie i praktisk tillämpning av kritisk design." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-21451.
Повний текст джерелаCritical design is a research- and innovationarea under development. The critical design theory has been used in many design-related areas and intends to get consumers to become more critical when it comes to how their everyday lives are controlled by different beliefs, values, ideologies and behavioral patterns that are incorporated into design (Dunne & Raby, 2001). Since critical design is a theory that seeks to transform in practice the challenge today lies in creating practical examples that show how it can be done, which is a necessity for the theory to develop (Bardzell et al., 2012). This study intends to be method developing by creating a set of tools based on selected parts (theoretical methods and perspectives) from critical design. The goal of these tools are to function as an instrument enabling practical implementation of critical design in a design/production process. In this study we have tested our tools in a specific productionprocess of a music video to explore how to apply critical design practically. In doing so we used design-oriented research methods, in particular Daniel Fällmans triangelmodel for interactiondesign and design research (2008). By bringing together critical design perspectives and video production purposes, this study hopes to make a contribution to the method fulfilling work of bridging the existing gap between theory and practice in critical design.
Vance, Sharie. "Miz Markley." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849604/.
Повний текст джерелаWikström, Patrik. "Reluctantly Virtual : Modelling Copyright Industry Dynamics." Doctoral thesis, Karlstad University, Faculty of Economic Sciences, Communication and IT, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-478.
Повний текст джерелаDuring the evolution of the music industry, developments in the media environment have required music firms to adapt in order to survive. Changes in broadcast radio programming during the 1950s; the Compact Cassette during the 1970s; and the deregulation of media ownership during the 1990s are all examples of changes which have heavily affected the music industry. This study explores similar contemporary dynamics, examines how decision makers in the music industry perceive and make sense of the developments, and reveals how they revise their business strategies, based on their mental models of the media environment.
A qualitative system dynamics model is developed in order to support the reasoning brought forward by the study. The model is empirically grounded, but is also based on previous music industry research and a theoretical platform constituted by concepts from evolutionary economics and sociology of culture. The empirical data primarily consist of 36 personal interviews with decision makers in the American, British and Swedish music industrial ecosystems. The study argues that the model which is proposed, more effectively explains contemporary music industry dynamics than music industry models presented by previous research initiatives.
Supported by the model, the study is able to show how “new” media outlets make old music business models obsolete and challenge the industry’s traditional power structures. It is no longer possible to expose music at one outlet (usually broadcast radio) in the hope that it will lead to sales of the same music at another (e.g. a compact disc).
The study shows that many music industry decision makers still have not embraced the new logic, and have not yet challenged their traditional mental models of the media environment. Rather, they remain focused on preserving the pivotal role held by the CD and other physical distribution technologies.
Further, the study shows that while many music firms remain attached to the old models, other firms, primarily music publishers, have accepted the transformation, and have reluctantly recognised the realities of a virtualised environment.
Queiroz, Tobias Arruda. "M?dia e produ??o de sentido: a reconfigura??o da ind?stria da m?sica e as estrat?gias discursivas da associa??o cultural DoSol." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16407.
Повний текст джерелаThis dissertation aims to analyse discursive strategies from Dosol in order to understand the present elements to keep its audience and the marketing activities. Based on French line of discourse analysis We look into the articles posted on its website at http://www.dosol.com.br within 2010 and We foment dialogues among music, media and communications researchers. Participant observation is slightly used on the critical perception and views of researched object to confront situations and step up, with theorists, the major part of closing remarks. The obtained results indicate a website speech paved on afirmative policies and social capital, trying to keep/seduce its audience with the efect of the intended credibility meaning. The economic factor wanders the speech so often that the speaker assumes a entrepreneur/cultural producer. As a niche market, Dosol assumes a main role in music industry for releasing the regional and local cultural production. On the other hand, it is noticeable that its sustainability and media visibility, as it is seen today, depends on the laws tor promote Culture, what denotes a lack of a regional cultural policies to medium and long term at Rio Grande do Norte
O objetivo desta disserta??o ? analisar as estrat?gias discursivas do endere?o eletr?nico www.dosol.com.br, em busca de compreender os elementos presentes para a manuten??o de p?blico e de atividades mercadol?gicas. A partir da An?lise de Discurso de linha francesa, investigamos os editoriais veiculados em seu endere?o eletr?nico www.dosol.com.br, durante o ano de 2010, e promovemos um di?logo com os pesquisadores e estudiosos das ?reas da m?sica, m?dia e comunica??o. A observa??o participante tamb?m se encontra presente, embora de maneira sutil, na percep??o e vis?o cr?tica do nosso objeto pesquisado onde confrontamos situa??es e incrementamos, a partir dos di?logos com os te?ricos, boa parte das considera??es finais. Os resultados obtidos apontam-nos para um discurso calcado em pol?ticas afirmativas e no capital social, com o intuito de manter/seduzir seu p?blico, com o efeito de sentido pretendido de credibilidade, por parte das fontes produtoras do site. O fator econ?mico transita de forma constante em seu discurso, proporcionando ao enunciador o perfil de um empres?rio/produtor cultural. Por se tratar de um mercado de nicho, o Dosol tem papel fundamental dentro da ind?stria da m?sica, dando vaz?o ? produ??o cultural regional e local. Por outro lado, observa-se que sua sustentabilidade e visibilidade midi?ticas, como se encontram hoje, dependem decisivamente das Leis de Incentivo ? Cultura, o que denota uma aus?ncia de pol?tica cultural regional a m?dio/longo prazo, no Rio Grande do Norte
Jooste, Marc Charles. "Can you see the music? MTV base music television production centre." Diss., 2007. http://hdl.handle.net/2263/29568.
Повний текст джерелаDissertation (MArch(Prof))--University of Pretoria, 2008.
Architecture
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Kurpiers, Joyce. "Reality by Design: Advertising Image, Music and Sound Design in the Production of Culture." Diss., 2009. http://hdl.handle.net/10161/1072.
Повний текст джерелаThis dissertation explores creative music, sound design and image production in the context of consumer culture (as defined by how its participants socialize in late-capitalist culture using commodities). Through the stylization of image, music and sound effects, advertisers communicate an abstract concept of a brand, and instantiate the brand through an audience member's heightened experience of the brand via the ad. Facilitated by socialized and mediatized frameworks for brand communications, branding is an embodied practice that relies on the audience member's participation with the brand through her/his real experience with an (audiovisual) advertisement. The effect of making the abstract brand tangible relies on successfully executing advertising objectives to create "impact" through stylized and often hyperreal representations of reality. At the same time, audience members' encounters with ads and branding practices represent bona fide experiences for them within American-capitalist cultural practices, and audience members take part in these practices as part of social participation and general making-sense of their everyday lives.
In late-capitalist consumer culture, the idea of the "consumer" operates within the liminal space of constructions of hyper-reality and the self. Through advertising, corporate interests mediate how people relate to and through commodities as consumers. Through ads, producers communicate an idea of a brand, that is, the collection and stylistic design of specific visual and sonic symbols, and the associated ideas, values or emotions that project an identity or persona about a company and its products or services. In attempts to increase the efficacy of their ads, ad producers fashion image, music and sound design specifically in ways they believe will generate "impact," that is, a physical, physiological or emotional response to audiovisual stimuli that are infused with symbolic meanings and values.
In their attempts to create effective ads, ad producers circumscribe identities of people based on demographics, behavior metrics, or a host of other measures intended to define what the industry calls "target audiences." With the belief that target audience members share wants, needs and values, ad producers build constellations of audiovisual signifiers that they believe will resonate with target audience members. These signifiers borrow from cultural narratives and myths to tell stories about brands and products, and communicate how people's lived experiences might be transformed through consumption practices.
With meticulous formulation of image, music and sound design, ad producers create a "hyperreality," that is exaggerated, heightened or stylized representation of reality. Through these carefully produced audio and visual artifacts, ad producers (re)circulate cultural narratives they believe communicate meaning and ideas of value, and make those abstract beliefs tangible through the audience member's sensorial experiences. With hyperreality grounded in an audience members' body and emotions, ad producers believe they can shape and direct audience members' ideas about their personal identities, and that of others and social groups. Additionally, ad image, music and sound design contribute to the naturalization of the ways people can socialize around branded identities and interconnect through commodities.
Dissertation
Costa, Leonardo Rocha. "O Home Studio e o Arranjador Moderno - Relato Sobre a Produção de Dois Temas Musicais." Master's thesis, 2020. http://hdl.handle.net/10362/107198.
Повний текст джерелаEste relatório de projeto artístico se baseia na produção de duas canções – A Bela e A Fera (Chico Buarque/Edu Lobo) e Em Paz (Léo Rocha) – através da utilização de instrumentos virtuais, que servirão de referência auditiva para músicos e técnicos em futuras gravações. São relatados aspectos referentes ao processo técnico/criativo que perpassam pela concepção dos arranjos, busca da sonoridade pretendida e registro das ideias no computador. O desenvolvimento da tecnologia aplicada à música tem como consequência a ampliação das possibilidades do fazer musical. O surgimento do home studio é um notável exemplo disso. O artifício da gravação/edição de áudio, que outrora parecia distante para muitos, se torna cada vez mais acessível, pela possibilidade se ter uma unidade de trabalho personalizável e capaz de realizar operações que constituem a produção musical. Diante desse contexto, a realização do presente projeto permite explorar assuntos que permeiam a elaboração de temas musicais na música popular como arranjo, tecnologia e produção musical. Esses tópicos são investigados a partir de um viés histórico/teórico no Estado da Arte e desenvolvidos em forma de relatório na parte prática da pesquisa. O estudo da relação entre o arranjador e o home studio se baseia, também, na minha experiência como músico e produtor nos últimos anos. Como resultado da prática são apresentados os dois temas musicais em formato áudio, além de partituras complementares.
Lopes, Pedro Maia Varela Teixeira. "Do microfone à mistura: a relação entre a produção e pós-produção e as implicações das mesmas no produto final e no ouvinte." Master's thesis, 2020. http://hdl.handle.net/10362/125917.
Повний текст джерелаThe creation and dissemination of music is one of the most intriguing phenomena in human history, and the recording and printing of music in physical format in the transition between the 19th and 20th centuries represents a revolution, not only technological but also cultural. Behind the sound waves emitted by the modern loudspeaker, there is more than just the musician and the composer - the sound engineer is revealed, allowing a given work to reach our ears as we hear it on a vinyl record, CD or cassette. Is (or should) it be the role of the sound engineer just that of a simple technical catalyst? What quantitative and qualitative impacts do they have on the final audible work? And does it make sense to categorize so strictly the labels of “producer”, “technician” and “artist” in a 21st century of technological revolutions? This thesis and internship report seek to deepen these issues, drawing conclusions based on practical and real-life experiences in a professional recording studio.
Ahlkvist, Jarl A. "Around the dial: Commercial radio and the production of popular music." 1995. https://scholarworks.umass.edu/dissertations/AAI9606482.
Повний текст джерелаBianco, Roberta. "Principles of action planning in music production: evidence from fMRI and EEG studies." 2016. https://ul.qucosa.de/id/qucosa%3A16196.
Повний текст джерелаWestgate, Christopher Joseph. "From Aural Places to Visual Spaces: The Latin/o and General Music Industries." Thesis, 2011. http://hdl.handle.net/1969.1/ETD-TAMU-2011-08-9930.
Повний текст джерелаFugate, Bradley. "The contemporary countertenor in context: vocal production, gender/sexuality, and reception." Thesis, 2016. https://hdl.handle.net/2144/17736.
Повний текст джерелаAldredge, Marcus David. "Profiles in Courage: Practicing and Performing at Musical Open Mics and Scenes." 2009. http://hdl.handle.net/1969.1/ETD-TAMU-2009-08-7193.
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