Готові списки джерел за темами / Music recordings

Добірка наукової літератури з теми "Music recordings"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Music recordings"

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CLARKE, ERIC F. "The Impact of Recording on Listening." twentieth-century music 4, no. 01 (March 2007): 47–70. http://dx.doi.org/10.1017/s1478572207000527.

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AbstractThe development of recording is arguably the most significant change to have affected music in the twentieth century. Never before have people had access to so much music and in so many different ways and with so many different patterns of use. This paper examines some of the effects of recording on listening, starting with a brief outline of an ecological theory of listening and focusing on three specific characteristics of recordings: the interpenetration of music and the wider environment; recordings as medium and as object; and the relationship between social and solitary listening practices. Recording has attracted both utopian and dystopian commentaries on its effects on musical culture, and the paper concludes by considering both the opportunities and the drawbacks of recordings as a means of access to music.
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2

Roux, Gerhard. "STILL RECORDING AFRICAN MUSIC IN THE FIELD." African Music: Journal of the International Library of African Music 11, no. 1 (November 22, 2018): 136–58. http://dx.doi.org/10.21504/amj.v11i1.2296.

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Field sound recordings are an indispensable source of data for ethnomusicologists. However, to my knowledge there are no standards or guidelines of how this data should be captured and managed. With the progress made in machine learning, it has become vital to record data in a way that also supports the retrieval of information about the music. This article describes a model developed for field recordings that aims to aid an objective data gathering process. This model, developed through an action research process that spanned multiple field recording sessions from 2009–2015, include recording equipment, production processes, the gathering of metadata as well as intellectual property rights. The core principles identified in this research are that field recording systems should be designed to provide accurate feedback as a means of quality control and should capture and manage metadata without relying on secondary tools. The major findings are presented in the form of a checklist that can serve as a point of departure for ethnomusicologists making field recordings.
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3

Karanjia, Rustum, Donald G. Brunet, and Martin W. ten Hove. "Optimization of Visual Evoked Potential (VEP) Recording Systems." Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques 36, no. 1 (January 2009): 89–92. http://dx.doi.org/10.1017/s0317167100006375.

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Objective:To explore the influence of environmental conditions on pattern visual evoked potential (VEP) recordings.Methods:Fourteen subjects with no known ocular pathology were recruited for the study. In an attempt to optimize the recording conditions, VEP recordings were performed in both the seated and recumbent positions. Comparisons were made between recordings using either LCD or CRT displays and recordings obtained in silence or with quiet background music. Paired recordings (in which only one variable was changed) were analyzed for changes in P100 latency, RMS noise, and variability.Results:Baseline RMS noise demonstrated a significant decrease in the variability during the first 50msec accompanied by a 73% decrease in recording time for recumbent position when compared to the seated position (p<0.05). Visual evoked potentials recorded using LCD monitors demonstrated a significant increase in the P100 latency when compared to CRT recordings in the same subjects. The addition of background music did not affect the amount of RMS noise during the first 50msec of the recordings.Conclusion:This study demonstrates that the use of the recumbent position increases patient comfort and improves the signal to noise ratio. In contrast, the addition of background music to relax the patient did not improve the recording signal. Furthermore, the study illustrates the importance of avoiding low-contrast visual stimulation patterns obtained with LCD as they lead to higher latencies resulting in false positive recordings. These findings are important when establishing or modifying a pattern VEP recording protocol.
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Simpkins, Terry. "Cataloging Popular Music Recordings." Cataloging & Classification Quarterly 31, no. 2 (January 2001): 1–35. http://dx.doi.org/10.1300/j104v31n02_01.

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Judd, Aaron. "Qin Music: Two Recordings." Asian Music 50, no. 2 (2019): 175–77. http://dx.doi.org/10.1353/amu.2019.0021.

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6

Supper, Alexandra. "Listening for the hiss: lo-fi liner notes as curatorial practices." Popular Music 37, no. 2 (April 13, 2018): 253–70. http://dx.doi.org/10.1017/s0261143018000041.

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AbstractLo-fi music is commonly associated with a recording aesthetic marked by an avoidance of state-of-the-art technologies and an inclusion of technical flaws, such as tape hiss and static. However, I argue that lo-fi music is not defined merely by the presence of such imperfections, but by a discourse which deliberately draws attention to them. Album liner notes play an important role in this discourse, as they can function as curatorial practices, through which lo-fi artists give an appropriate frame of reference to their recordings. By highlighting the ‘honest’ character of the recordings, the intimate recording spaces, the materiality of the equipment and its ambiguous character as machine/instrument/performer, they invite listeners to adopt a genre-adequate mode of listening. Rather than listening past hiss and other recording artefacts as undesirable qualities, listeners are asked to listen for these qualities as an essential element of not just the recordings, but the music itself.
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Negus, Keith. "From creator to data: the post-record music industry and the digital conglomerates." Media, Culture & Society 41, no. 3 (September 5, 2018): 367–84. http://dx.doi.org/10.1177/0163443718799395.

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This article contributes to research on the changing music industries by identifying three dynamics that underpin the shift towards a post-record music industry. First, it examines how musicians have found themselves redefined as content providers rather than creative producers; a historical change from recorded music as product to content. Second, it focuses on tensions between YouTube and recording artists as symptomatic of disputes about the changing artistic and economic value of recorded music. Third, it extends this debate about the market and moral worth of music by exploring how digital recordings have acquired value as data, rather than as a commercial form of artistic expression. The article explores how digital conglomerates have become ever-more significant in shaping the circulation of recordings and profiting from the work of musicians, and highlights emergent dynamics, structures and patterns of conflict shaping the recording sector specifically, and music industries more generally.
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8

Hamilton, David. "Recordings." Opera Quarterly 3, no. 1 (1985): 135–40. http://dx.doi.org/10.1093/oq/3.1.135.

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Harris, Dale. "Recordings." Opera Quarterly 3, no. 2 (1985): 75–79. http://dx.doi.org/10.1093/oq/3.2.75.

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Turnbull, Michael. "RECORDINGS." Early Music 13, no. 1 (February 1985): 127–31. http://dx.doi.org/10.1093/earlyj/13.1.127.

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Дисертації з теми "Music recordings"

1

Olson, Ted. "Recording Review of Charlie Poole with The Highlanders: Complete Recordings." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1165.

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Szabo, Moira. "For the love of music : avenues of entry into the world of western art music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11342.

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Olson, Ted. "Recording Review of Folksongs of Another America: Field Recordings from the Upper Midwest, 1937-1946." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1143.

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Olson, Ted. "Louis Armstrong: Ten Recordings of Consequence." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1187.

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Stewart, Richard Christopher. "Effective audio for music videos : the production of an instructional video outlining audio production techniques for amateur music videos." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1996. http://www.kutztown.edu/library/services/remote_access.asp.

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Ferguson, Robert W. III. "Automatic segmentation in concert recordings." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81489.

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Анотація:
"...music is an art that exists in point of time." Aaron Copland, What to Listen for in Music
Few definitions are adequate to describe music, but a "point of time" is a concept with which people are familiar. When musicians give concerts they try to create these points in a context, which allows the audience to observe each moment by itself. Concert practice has developed to define the edges of musical points, guided by cues such as clapping, pauses, and concert program notes.
This masters thesis investigates how to analyze concert recordings of Western music and their program notes to produce segments which best fit the boundaries of musical points. Modern segmentation techniques are reviewed and a new method specific to concert recordings is examined.
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7

McKay, Cory. "Automatic genre classification of MIDI recordings." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81503.

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A software system that automatically classifies MIDI files into hierarchically organized taxonomies of musical genres is presented. This extensible software includes an easy to use and flexible GUI. An extensive library of high-level musical features is compiled, including many original features. A novel hybrid classification system is used that makes use of hierarchical, flat and round robin classification. Both k-nearest neighbour and neural network-based classifiers are used, and feature selection and weighting are performed using genetic algorithms. A thorough review of previous research in automatic genre classification is presented, along with an overview of automatic feature selection and classification techniques. Also included is a discussion of the theoretical issues relating to musical genre, including but not limited to what mechanisms humans use to classify music by genre and how realistic genre taxonomies can be constructed.
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McGuire, Meghan. "Covering music : tracing the semiotics of Beatles album covers through the cultural circuit." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1112552888.

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Meynell, Anthony. "How recording studios used technology to invoke the psychedelic experience : the difference in staging techniques in British and American recordings in the late 1960s." Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/3837/.

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This thesis focuses on a time in the mid-1960s where practice in the studio changed from a formal arena where previously rehearsed songs were recorded, to a playground where sonic possibilities were explored and sound manipulation became normal practice. This abuse of technology and manipulation of reality became part of the creative process in the studio, providing soundscapes that resonated with the counter-cultural ethos of upsetting the established order, and were adopted by the mainstream during the 1967 ‘Summer of Love”. Following a discussion of current literature, practice as research is applied to demonstrate how interaction with historical technology reveals the performative nature of the tacit knowledge that created many of the aural effects under consideration. The research then focuses through the prism of two case studies, “Eight Miles High” recorded by The Byrds in Los Angeles in January 1966, and “Rain”, recorded by The Beatles in London in April 1966. Through re-enactment of these historical recording sessions, I recreate the closed envirnment of the 1960’s recording studio. By interacting with historical technology and following a similar structure to the original sessions, I investigate how the methodology was influenced by collaborative actions, situational awareness and the demarcation of roles. Post session video analysis reveals the flow of decision making as the sessions unfold, and how interaction with the technological constraints recreates ‘forgotten’ techniques that were deemed everyday practice at the time and were vital to the outcome of the soundscapes. The thesis combines theory and practice to develop an understanding of how the engineers interacted with technology (Polanyi, 1966), often abusing the equipment to create manipulated soundscapes (Akrich and Latour, 1992), and how the sessions responded to musicians demanding innovation and experimentation, circumventing the constraints of established networks of practice (Law and Callon, 1986) during the flow of the recording session (Ingold, 2013).
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10

Haan, Keith Alan. "Trends in complimentary recordings distributed by choral music publishers and the use made of these recordings by Missouri School Choral Directors /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3101021.

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Книги з теми "Music recordings"

1

Cash, Johnny. American recordings. Burbank, CA: American Recordings, 1994.

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2

Gelfand, Steve. Television theme recordings. [New York, N.Y.?]: Television Music Archives, 1985.

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3

Wright, Christine. Music master: British record industry prefix list. Hastings: John Humphries, 1985.

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4

American recordings. New York: Continuum, 2011.

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5

Mutum, Tim. Brass band recordings. Baldock: Egon, 1991.

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6

Moses, Julian Morton. American celebrity recordings, 1900-1925. 3rd ed. Dallas, Tex: Monarch Record Enterprises, 1993.

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7

1965-, Bogdanov Vladimir, Woodstra Chris, and Erlewine Stephen Thomas, eds. All Music Guide: The Definitive Guide to Popular Music. 4th ed. San Francisco, USA: Backbeat Books, 2001.

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8

Cahn, William L. Xylophone in acoustic recordings, 1877-1929. 2nd ed. Bloomfield, N.Y: W.L. Cahn, 1996.

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9

1965-, Bogdanov Vladimir, Woodstra Chris, and Erlewine Stephen Thomas, eds. All music guide to jazz: The definitive guide to jazz music. 4th ed. San Francisco, CA: Backbeat Books, 2002.

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10

A discography of treble voice recordings. Metuchen, N.J: Scarecrow Press, 1985.

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Частини книг з теми "Music recordings"

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Siefert, Marsha. "Entrepreneurial Tapists." In Music and Democracy, 19–60. Vienna, Austria / Bielefeld, Germany: mdwPress / transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839456576-002.

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This article takes a participatory approach to the reproduction of live music performance by looking at the history of »bootleg« sound recordings in two formations during the 1960s and 1970s. The first builds on the history of how opera lovers, mostly in concert and sometimes in conflict with formal opera institutions and commercial recording companies, created their own community for reproduced live opera performances through surreptitious live recording, record producing, distributing, cataloging, trading, and collecting. Marsha Siefert relates these activities to the world of magnitizdat, the live music recordings in the U.S.S.R. that were also reproduced and circulated through trusted networks. The aim of looking at both of these twentieth-century forms of music reproduction is to ask questions about how music listeners responded to perceived limitations of formal music industries by creating participatory networks that identified, reproduced, and circulated recorded music that corresponded to their preferences and ideas about authenticity, aesthetics, and direct experience before the internet age.
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2

Sampath, Vikram. "Analysing the Recordings." In Indian Classical Music and the Gramophone, 1900–1930, 113–73. London: Routledge, 2022. http://dx.doi.org/10.4324/9780367822026-6.

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Dannenberg, Roger B., and Ning Hu. "Discovering Musical Structure in Audio Recordings." In Music and Artificial Intelligence, 43–57. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-45722-4_6.

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Goldberg, Daniel. "Tapping to recordings of Bulgarian music." In Trends in World Music Analysis, 125–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003033080-8.

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López-Serrano, Patricio, Christian Dittmar, and Meinard Müller. "Finding Drum Breaks in Digital Music Recordings." In Music Technology with Swing, 111–22. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01692-0_8.

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Kubera, Elżbieta, and Alicja A. Wieczorkowska. "Pitch-Related Identification of Instruments in Classical Music Recordings." In New Frontiers in Mining Complex Patterns, 194–209. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17876-9_13.

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Grollmisch, Sascha, Estefanía Cano, Fernando Mora Ángel, and Gustavo López Gil. "Ensemble Size Classification in Colombian Andean String Music Recordings." In Lecture Notes in Computer Science, 60–74. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_4.

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Paiva, Rui Pedro, Teresa Mendes, and Amílcar Cardoso. "An Auditory Model Based Approach for Melody Detection in Polyphonic Musical Recordings." In Computer Music Modeling and Retrieval, 21–40. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-31807-1_2.

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Ashbourn, Julian. "Why Recordings Sound Worse Now Than They Did in the 1950s and 1960s." In Audio Technology, Music, and Media, 107–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62429-3_23.

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Kania, Andrew. "Recordings." In Philosophy of Western Music, 222–49. Routledge, 2020. http://dx.doi.org/10.4324/9781315210629-9.

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Тези доповідей конференцій з теми "Music recordings"

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Tsai, Wei-Ho, and Duo-Fu Bao. "Clustering Music Recordings Based on Genres." In 2010 International Conference on Information Science and Applications. IEEE, 2010. http://dx.doi.org/10.1109/icisa.2010.5480365.

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Ewert, Sebastian, and Meinard Muller. "Estimating note intensities in music recordings." In ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946421.

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Jiang, Nanzhu, and Meinard Muller. "Estimating double thumbnails for music recordings." In ICASSP 2015 - 2015 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2015. http://dx.doi.org/10.1109/icassp.2015.7177949.

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Warrenburg, Lindsay, Nathan Centa, Xintong Li, Hansae Park, Diana Sari, and Feiyu Xie. "Sonic intimacy in the music of Billie Eilish and recordings that induce ASMR." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0026.

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Grosche, Peter, and Meinard Muller. "Computing predominant local periodicity information in music recordings." In 2009 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA). IEEE, 2009. http://dx.doi.org/10.1109/aspaa.2009.5346544.

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Tsai, Wei-Ho, and Cin-Hao Ma. "Singing performance evaluation by reference to CD music recordings." In 2014 IEEE International Conference on Consumer Electronics - Taiwan (ICCE-TW). IEEE, 2014. http://dx.doi.org/10.1109/icce-tw.2014.6904030.

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Tsai, Wei-Ho, and Wei-Che Hsieh. "Blind Clustering of Music Recordings Based on Audio Fingerprinting." In 2009 Fifth International Conference on Intelligent Information Hiding and Multimedia Signal Processing (IIH-MSP). IEEE, 2009. http://dx.doi.org/10.1109/iih-msp.2009.152.

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Antonopoulos, Iasonas, Aggelos Pikrakis, and Sergios Theodoridis. "Locating Rhythmic Patterns in Music Recordings using Hidden Markov Models." In 2007 IEEE International Conference on Acoustics, Speech, and Signal Processing. IEEE, 2007. http://dx.doi.org/10.1109/icassp.2007.366656.

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Demirel, Emir, Sven Ahlback, and Simon Dixon. "Low Resource Audio-To-Lyrics Alignment from Polyphonic Music Recordings." In ICASSP 2021 - 2021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2021. http://dx.doi.org/10.1109/icassp39728.2021.9414395.

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Duggan, Bryan, Brendan O'Shea, and Padraig Cunningham. "A system for automatically annotating traditional Irish music field recordings." In 2008 International Workshop on Content-Based Multimedia Indexing (CBMI). IEEE, 2008. http://dx.doi.org/10.1109/cbmi.2008.4564923.

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Звіти організацій з теми "Music recordings"

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Li, Yipeng, and DeLiang Wang. Separation of Singing Voice from Music Accompaniment for Monaural Recordings. Fort Belvoir, VA: Defense Technical Information Center, September 2005. http://dx.doi.org/10.21236/ad1001211.

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2

Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Анотація:
Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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