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Статті в журналах з теми "Music recordings"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Music recordings.

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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1

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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Анотація:

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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4

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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5

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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7

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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Анотація:

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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9

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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10

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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11

Milsom, John. "RECORDINGS." Early Music 13, no. 1 (February 1985): 133–40. http://dx.doi.org/10.1093/earlyj/13.1.133.

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12

Milsom, John. "RECORDINGS." Early Music 13, no. 1 (February 1985): 143—a—143. http://dx.doi.org/10.1093/earlyj/13.1.143-a.

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13

Dack, James. "Recordings." Early Music 13, no. 1 (February 1985): 145–53. http://dx.doi.org/10.1093/earlyj/13.1.145.

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14

Stowell, Robin. "RECORDINGS." Early Music 13, no. 2 (May 1985): 311–13. http://dx.doi.org/10.1093/earlyj/13.2.311.

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15

Lawson, Colin. "RECORDINGS." Early Music 13, no. 2 (May 1985): 313–15. http://dx.doi.org/10.1093/earlyj/13.2.313.

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16

Bartlett, Clifford. "RECORDINGS." Early Music 13, no. 2 (May 1985): 315–17. http://dx.doi.org/10.1093/earlyj/13.2.315.

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17

Ife, Barry. "RECORDINGS." Early Music 13, no. 2 (May 1985): 317–20. http://dx.doi.org/10.1093/earlyj/13.2.317.

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18

Wood, Bruce. "RECORDINGS." Early Music 13, no. 2 (May 1985): 321–22. http://dx.doi.org/10.1093/earlyj/13.2.321.

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19

Stowell, Robin. "RECORDINGS." Early Music 13, no. 2 (May 1985): 322–23. http://dx.doi.org/10.1093/earlyj/13.2.322.

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20

Anderson, Nicholas. "RECORDINGS." Early Music 13, no. 2 (May 1985): 323–25. http://dx.doi.org/10.1093/earlyj/13.2.323.

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21

Massip, Catherine. "RECORDINGS." Early Music 13, no. 2 (May 1985): 325–26. http://dx.doi.org/10.1093/earlyj/13.2.325.

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22

Van Tassel, Eric. "RECORDINGS." Early Music 13, no. 2 (May 1985): 326–28. http://dx.doi.org/10.1093/earlyj/13.2.326.

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23

Van Tassel, Eric. "RECORDINGS." Early Music 13, no. 2 (May 1985): 328–30. http://dx.doi.org/10.1093/earlyj/13.2.328.

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24

Wood, Bruce. "RECORDINGS." Early Music 13, no. 3 (August 1985): 439–45. http://dx.doi.org/10.1093/earlyj/13.3.439.

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25

Leech-Wilkinson, Daniel. "RECORDINGS." Early Music 13, no. 3 (August 1985): 445–49. http://dx.doi.org/10.1093/earlyj/13.3.445.

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26

Crawford, Tim. "RECORDINGS." Early Music 13, no. 3 (August 1985): 449–52. http://dx.doi.org/10.1093/earlyj/13.3.449.

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27

Harbor, Catherine. "RECORDINGS." Early Music 13, no. 3 (August 1985): 452–55. http://dx.doi.org/10.1093/earlyj/13.3.452.

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28

Knighton, Tess. "RECORDINGS." Early Music 13, no. 3 (August 1985): 455–59. http://dx.doi.org/10.1093/earlyj/13.3.455.

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29

Tassel, Eric Van. "RECORDINGS." Early Music 13, no. 3 (August 1985): 459–61. http://dx.doi.org/10.1093/earlyj/13.3.459.

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30

Sadler, Graham. "RECORDINGS." Early Music 13, no. 3 (August 1985): 461–62. http://dx.doi.org/10.1093/earlyj/13.3.461.

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31

Dobbins, Frank. "RECORDINGS." Early Music 14, no. 1 (February 1986): 117–21. http://dx.doi.org/10.1093/earlyj/14.1.117.

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32

Dixon, Graham. "RECORDINGS." Early Music 14, no. 1 (February 1986): 121–23. http://dx.doi.org/10.1093/earlyj/14.1.121.

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33

Caldwell, John. "RECORDINGS." Early Music 14, no. 1 (February 1986): 123–25. http://dx.doi.org/10.1093/earlyj/14.1.123.

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34

Leech-Wilkinson, Daniel. "RECORDINGS." Early Music 14, no. 1 (February 1986): 125–26. http://dx.doi.org/10.1093/earlyj/14.1.125.

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35

Sadler, Graham. "RECORDINGS." Early Music 14, no. 1 (February 1986): 126–30. http://dx.doi.org/10.1093/earlyj/14.1.126.

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36

Kitchen, John. "RECORDINGS." Early Music 14, no. 1 (February 1986): 130–34. http://dx.doi.org/10.1093/earlyj/14.1.130.

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37

Cooper, Barry. "RECORDINGS." Early Music 14, no. 1 (February 1986): 134–37. http://dx.doi.org/10.1093/earlyj/14.1.134.

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38

Humphreys, David. "RECORDINGS." Early Music 14, no. 1 (February 1986): 137–38. http://dx.doi.org/10.1093/earlyj/14.1.137.

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39

Burrows, Donald. "RECORDINGS." Early Music 14, no. 1 (February 1986): 138–40. http://dx.doi.org/10.1093/earlyj/14.1.138.

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40

Whenham, John. "RECORDINGS." Early Music 14, no. 2 (May 1986): 295–96. http://dx.doi.org/10.1093/earlyj/14.2.295.

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41

Carter, Tim. "RECORDINGS." Early Music 14, no. 2 (May 1986): 296–97. http://dx.doi.org/10.1093/earlyj/14.2.296.

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42

Rastall, Richard. "RECORDINGS." Early Music 14, no. 2 (May 1986): 298–99. http://dx.doi.org/10.1093/earlyj/14.2.298.

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43

Savage, Roger. "RECORDINGS." Early Music 14, no. 2 (May 1986): 299–301. http://dx.doi.org/10.1093/earlyj/14.2.299.

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44

Caldwell, John. "RECORDINGS." Early Music 14, no. 2 (May 1986): 301—a—301. http://dx.doi.org/10.1093/earlyj/14.2.301-a.

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45

Caldwell, John. "RECORDINGS." Early Music 14, no. 2 (May 1986): 301—b—303. http://dx.doi.org/10.1093/earlyj/14.2.301-b.

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46

Stowell, Robin. "RECORDINGS." Early Music 14, no. 2 (May 1986): 303–5. http://dx.doi.org/10.1093/earlyj/14.2.303.

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47

Boyd, Malcolm. "RECORDINGS." Early Music 14, no. 2 (May 1986): 305–7. http://dx.doi.org/10.1093/earlyj/14.2.305.

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48

King, Alec Hyatt. "RECORDINGS." Early Music 14, no. 2 (May 1986): 307–9. http://dx.doi.org/10.1093/earlyj/14.2.307.

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49

Lawson, Colin. "RECORDINGS." Early Music 14, no. 2 (May 1986): 309–10. http://dx.doi.org/10.1093/earlyj/14.2.309.

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50

Rankin, Susan. "RECORDINGS." Early Music 14, no. 3 (August 1986): 443–46. http://dx.doi.org/10.1093/earlyj/14.3.443.

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