Готові списки джерел за темами / Music technology and recording

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Добірка наукової літератури з теми "Music technology and recording"

Автор: Grafiati
Опубліковано: 7 вересня 2024

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Статті в журналах з теми "Music technology and recording"

1

Guo, Tingjun. "Application of Internet of Things Technology in Vocal Music Teaching Recording Equipment Assisted by Machine Learning." Wireless Communications and Mobile Computing 2022 (April 25, 2022): 1–10. http://dx.doi.org/10.1155/2022/2091387.

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Анотація:
Vocal music teaching is a professional, technical, and practical subject. It is also an important part of music and art education and has certain social and educational significance. In vocal music teaching, recording equipment is an essential teaching tool. It plays a pivotal role in vocal music teaching. In recent years, with the rapid development of China’s social economy, education has also achieved great development, and it has also brought development opportunities to vocal music education. More and more advanced technologies and equipment have appeared to assist the smooth progress of vocal music teaching, especially recording equipment. This paper is aimed at studying the application of IoT technology in vocal music teaching recording equipment assisted by machine learning. Combined with machine learning and Internet of Things technology, the experiment of recognition effect of vocal music teaching recording equipment was carried out. It designs an end-to-end vocal music teaching recording device recognition model based on the Internet of Things technology assisted by machine learning. The experimental results show that the use of this model improves the recording recognition accuracy of vocal music teaching recording equipment by 20%.
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2

Guo, Tingjun. "Application of Internet of Things Technology in Vocal Music Teaching Recording Equipment Assisted by Machine Learning." Wireless Communications and Mobile Computing 2022 (April 25, 2022): 1–10. http://dx.doi.org/10.1155/2022/2091387.

Повний текст джерела
Анотація:
Vocal music teaching is a professional, technical, and practical subject. It is also an important part of music and art education and has certain social and educational significance. In vocal music teaching, recording equipment is an essential teaching tool. It plays a pivotal role in vocal music teaching. In recent years, with the rapid development of China’s social economy, education has also achieved great development, and it has also brought development opportunities to vocal music education. More and more advanced technologies and equipment have appeared to assist the smooth progress of vocal music teaching, especially recording equipment. This paper is aimed at studying the application of IoT technology in vocal music teaching recording equipment assisted by machine learning. Combined with machine learning and Internet of Things technology, the experiment of recognition effect of vocal music teaching recording equipment was carried out. It designs an end-to-end vocal music teaching recording device recognition model based on the Internet of Things technology assisted by machine learning. The experimental results show that the use of this model improves the recording recognition accuracy of vocal music teaching recording equipment by 20%.
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3

Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview." Journal of Humanities,Music and Dance, no. 24 (July 28, 2022): 14–24. http://dx.doi.org/10.55529/jhmd.24.14.24.

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Анотація:
The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.
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4

Chatterjee (Mukherjee), Dr Samarpita. "Music and Audio Recording Technology: An Overview." Journal of Humanities,Music and Dance, no. 24 (October 17, 2022): 14–24. http://dx.doi.org/10.55529/jhmd24.14.24.

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Анотація:
The coalescence of music and technology form the base of audio production. This study offers a brief account of technological transformations that have shaped the modern audio industry. It takes into consideration the changes in audio recording equipment and audio distribution formats throughout the years up to contemporary time. The study attempts to emphasize the necessary prerequisites for quality audio recording and production in the digital age of today. The study draws its arguments from various secondary sources. This study adds an extra dimension to the already existing knowledge of audio production by blending conceptual and essential practical aspects of audio production. The simplified contour of audio production presented by this study will allow novice musicians and producers to grasp the basics of digital audio recording technology before venturing into the vast ocean of audio technology.
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5

Irawan, Ricky. "Aktor Lokal, Industri Rekaman Musik, dan Musik Daerah: Peran dan Kontribusi Hila Hambala pada Gitar dan Gambus Tunggal Lampung Pesisir." Journal of Music Science, Technology, and Industry 5, no. 1 (April 30, 2022): 25–47. http://dx.doi.org/10.31091/jomsti.v5i1.1973.

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Purpose: This article aims to examine the progress of music recording technology in cassette form and the role of local actors, encouraging the development and giving shape to the toponymy of Lampung regional music today. Research Method: through a diachronic perspective, the author focuses on Hila Hambala, a musician, composer of Lampung-language songs, who is also widely known as an important figure in the development of guitar and gambus tunggal Lampung Pesisir, and Lampung dangdut. Several issues will be discussed, including: the learning process, the music environment, and Hila Hambala's involvement in music recording (in Jakarta and Lampung) since the early 80's which resulted in recordings of her works in the form of audiocassettes and video compact discs. Results and Discussion: Hila Hambala's involvement since the 80s in regional music and popular music from the Lampung region has not only boosted the popularity of his name and works, but in turn has also helped to define and shape the landscape of local music in Lampung, namely guitar and gambus tunggal of coastal Lampung. Implication: This research contributes to the discourse on the role and implications of modernity through advances in music recording technology having an impact on regional music.
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Manning, Peter. "The Influence of Recording Technologies on the Early Development of Electroacoustic Music." Leonardo Music Journal 13 (December 2003): 5–10. http://dx.doi.org/10.1162/096112104322750719.

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From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik
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7

Andiko, Benny, Benni Andika, and Sabri Gusmail. "ANALISIS PROSES PEREKAMAN MUSIK DENGAN METODE DIGITAL DI SANGGAR BUANA BANDA ACEH MASA PANDEMI CIVID-19." Gorga : Jurnal Seni Rupa 11, no. 2 (December 30, 2022): 538. http://dx.doi.org/10.24114/gr.v11i2.38737.

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This research is entitled "Analysis of Music Recording Process with Digital Methods in Sanggar Buana Banda Aceh during the COVID-19 Pandemic". This study aims to determine the process of recording music using the Digital Method at Sanggar Buana Banda Aceh during the Covid-19 Pandemic. The tracking process of music recording on each instrument is recorded in the track.The overdub process is done by adding a new recording at the same time as the previously made recording is being played.The editing process uses an audio editor to enhance certain parts. The mixing process balances and combines the recorded tracks by prioritizing the principle of necessity. The equalizing process creates the sound character of traditional musical instruments based on the concept of sound frequency. The sound effect process provides an effect to strengthen the sound character of traditional musical instruments. The mastering process sets the standard volume, adjusts the frequency, removes or reduces effects that interfere with the character of the sound, balances and finalizes the audio as a whole. The research method used in this research is qualitative research as a research procedure that produces descriptive data in the form of written information and analysis using Studio One 5 software. The stages of data collection are: observation; literature review; interviews and documentation. The results and discussion of this research are; digital music recorder at Sanggar Buana Banda Aceh using digital recording equipment as follows; the Warm Audio WA 47 JR condenser microphone uses ambient miking techniques, the Focusrite Scarlett 18i8 3rd Gen audio interface; uses a multitrack recording technique with separate vocal tracks from Rapa'i; medium for delivering vocals and Rapa'i; the storage media is PreSonus Studio One 5 software. The recording process with the stages of tracking, overdub, editing, mixing, equalizing, sound effects and mastering.Keywords: analysis, recording process, music, sanggar buana. AbstrakPenelitian ini berjudul “Analisis Proses Perekaman Musik dengan Metode Digital di Sanggar Buana Banda Aceh pada Masa Pandemi COVID-19”. Penelitian ini bertujuan untuk mengetahui Proses Perekaman Musik dengan Metode Digital di Sanggar Buana Banda Aceh pada Masa Pandemi COVID-19. Proses tracking dari perekaman musik pada setiap instrument direkam dalam track. Proses overdub dilakukan dengan menambahkan rekaman baru pada saat yang bersamaan dimainkan rekaman yang telah dibuat sebelumnya. Proses editing menggunakan audio editor untuk menyempurnakan bagian tertentu. Proses mixing menyeimbangkan dan menggabungkan track rekaman dengan mengutamakan prinsip kebutuhannya. Proses equalizing menciptakan karakter bunyi dari alat musik tradisi berdasarkan konsep frekuensi bunyi. Proses sound effect memberikan efek untuk memperkuat karakter bunyi dari alat musik tradisi. Proses mastering menetapkan standar volume, mengatur frekuensi, menghilangkan atau menurunkan efek yang mengganggu karakter bunyi, menyeimbangkan dan finalisasi audio secara utuh. Metode penelitian yang digunakan dalam penelitian ini adalah penelitian kualitatif sebagai prosedur penelitian yang menghasilkan data deskriptif berupa informasi tertulis dan analisis menggunakan software Studio One 5. Tahapan pengumpulan data yaitu: observasi; studi pustaka; wawancara dan dokumentasi. Hasil dan pembahasan dari penelitian ini yaitu; perekam musik dengan metode digital di Sanggar Buana Banda Aceh menggunakan peralatan rekaman digital sebagai berikut; microphone condenser Warm Audio WA 47 JR menggunakan teknik ambient miking, audio interface Focusrite Scarlett 18i8 3rd Gen; menggunakan teknik perekaman multitrack dengan track vokal terpisah dari Rapa’i; media penyampai vokal dan Rapa’i; media penyimpan yaitu software PreSonus Studio One 5. Proses rekaman dengan tahapan tracking, overdub, editing, mixing, equalizing, sound effect dan mastering.Kata Kunci: analisis, proses perekaman, musik, sanggar buana. Authors:Benny Andiko : Institut Seni Budaya Indonesia AcehBenni Andika : Institut Seni Budaya Indonesia AcehSabri Gusmail : Institut Seni Budaya Indonesia Aceh References:Andiko, B & Denada, B. (2021). Analisis Timbre Rapa’i Buatan Fajar Siddiq di Desa Kayee Lheu, Kecamatan Ingin Jaya, Kabupaten Aceh Besar (Kajian Musik Multimedia). Gorga: Jurnal Seni Rupa¸10(02), 495-507. https://doi.org/10.24114/gr.v10i2.28382.Audio, W. (2022). Cardioid Condenser Microphone WA 47-jr. https://warmaudio.com/wa47jr/ (diakses pada 8 Agustus 2022).Focusrite, F. (2022). Audio Interface Focusrite Scarlett 18i8 3rd Gen. https://focusrite.com/en/usb-audio-interface/scarlett/scarlett-18i8 (diakses pada 10 Agustus 2022).Huber, D. M,. & Runstein, R. E. (2017) Modern Recording Techniques. Routledge: Focal Press.Lefaan, A.Y. (2010). Studio Rekaman Musik Di Yogyakarta. Skripsi. Yogyakarta: Universitas Atma Jaya Yogyakarta. https://doi.org/10.24114/gr.v10i2.28382.Moleong, L. J. (1995). Metodologi Penelitian Kualitatif. Bandung: PT. Remaja Rosdakarya.Sukman, F. F., & Gusmail, S. (2019). Eksistensi Tari Ratoh Bantai di Sanggar Buana Banda Aceh. Jurnal Ekspresi Seni, 21(2). http://dx.doi.org/10.26887/ekspresi.v21i2.961.Walzer, D. A. (2016). Software-Based Scoring and Sound Design. Music Educators Journal, 103(1), 22-36. https://journals.sagepub.com/doi/10.1177/0027432116653449.Wirandi, R., Permata, M. M. B., & Denada, B. (2020). Sistem Tata Kelola Grup Rapa’i Daboh Bungong Jeumpa Bantimoh di Kawasan Pemukiman Pasca Tsunami Aceh, Care, Kota Jantho. Gorga: Jurnal Seni Rupa, 9(2), 347-358. https://doi.org/10.24114/gr.v9i2.20659.
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8

Rykunin, Vladislav Vyacheslavovich. "The first jazz gramophone record: the music of the moment which became timeless." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 14–22. http://dx.doi.org/10.7256/2453-613x.2021.1.35023.

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Jazz is the first type of music art the earliest stage of development of which had been recorded. A single play recorded in 1917 by the quintet Original Dixieland “Jass” Band from New Orleans is known in history as the first jazz record. There’s a perception in the academic community that the musical material on this record can hardly be considered as a typical representative of jazz music of that period. The music was performed by the white musicians, though most first jazz bands were black, and the music was far from a real solo improvisation. However, it was not typical in the first place because it had been recorded. The research subject of the article is the influence of sound recording technology on jazz culture at the stage of its foundation. In those years, if jazz musicians wanted to make a recording they had to bear in mind numerous peculiarities of sound recording technology. The author gives special attention to the analysis of the consequences of reproducibility of a recording for jazz musicians, and for the audience’s perception. As a research methodology, the author uses the comprehensive approach which includes the study of historical sources and jazz musicians’ memoirs related to the sound recording industry. The research proves that audio recordings are not sufficient as a source for critical research of the first jazz gramophone record, and suggests alternative approaches to its interpretation.   
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9

WESTERN, TOM. "‘The Age of the Golden Ear’:The Columbia World Libraryand Sounding out Post-war Field Recording." Twentieth-Century Music 11, no. 2 (July 30, 2014): 275–300. http://dx.doi.org/10.1017/s1478572214000103.

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AbstractThis article responds to Alan Lomax's pronouncement that the mid-twentieth century constituted ‘the age of the golden ear’, when ‘a passionate aural curiosity overshadowed the ability to create music’. It examines a project born out of Lomax's own aural curiosity and his foregrounding of recording technology – theColumbia World Library of Folk and Primitive Music(1955) – using it to sound out the history of mid-century ethnographic field recording. By retracing the production of theWorld Library, this article explores the various agencies compressed into the audible exteriors of field recordings, as they were produced by and for specific technologies and formats, circulated through international networks, and as they became part of the aural public sphere of post-war Europe. It concludes by considering some of the implications of this sonic labour as field recordings find their way into new, digital, listening environments.
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10

Thompson IV, William A., and Jeffrey Albert. "Baghdad Music Journal: A Soldier’s Move toward Technology in Music." Leonardo Music Journal 25 (December 2015): 68–72. http://dx.doi.org/10.1162/lmj_a_00938.

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Анотація:
The author was deployed to Iraq as a member of the U.S. Army National Guard in April 2004. He left his acoustic piano roots and embraced electronic music as a way to stay involved with music during his deployment. While deployed in Iraq, Thompson recorded and released a CD entitled Baghdad Music Journal (BMJ). The soldier’s recording was made and released while he was deployed to an active war zone and is a document of his experience. Describing his time in Iraq, he discusses how it has changed his musical practice.
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Дисертації з теми "Music technology and recording"

1

Miller, Eric R. "The Influence of Recording Technology on Music Performance and Production." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1367581047.

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Sztein, Baremberg Gabriella Ana. "Musical time and recording technology: A perspective from music theory." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9595.

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This thesis deals with two categories of musical time, concrete and subjective, and the effect of recording technology on musical time. Concrete musical time can be measured in an objective way, for example, through reference to standards of time external to the listener, such as clocks. Subjective musical time refers to the musical time that cannot be measured objectively: it depends entirely on the listener who experiences the musical work. It is my conclusion that recording technology affects the concrete aspect of musical time, but not the subjective one. Chapter one defines the relationship between time and different forms of art, as well as the relationship between time and music. Chapter two defines concrete and subjective musical time. Chapter three discusses recording technology and the changes it imposes on the musical aesthetic ritual. By musical aesthetic ritual, I mean the agreed-upon physical actions which are related to the activities involving music and the experience of music. Chapter four explains the influence of recording technology on certain musical aesthetic ideas such as the reproduction of music, the completeness of the musical work, and the temporality of the musical work. Chapter five presents my conclusions with regards to the influence of recording technology on concrete and subjective musical time.
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3

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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4

Lingard, William. "Sounds perfect : the evolution of recording technology and music's social future." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367009/.

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The effect of technology on music has been indisputably profound. As a cultural descendant of the traditions first established by notation and printing, recorded music technology has transformed our understanding and use of music in all sorts of ways. Whether or not different technologies have had a positive or negative effect, however, is a subject of much debate. Traditional histories of recorded music technology demonstrate a tendency either to treat each new platform as truly revolutionary, or to elide the differences between them to such an extent that significant socio-­cultural and socio-­economic transformations become occluded. Revisiting this history with an open mind—and a degree of cultural and temporal distance—permits a perspective of progression, from which the ramifications of recorded music technologies become more accurately discernible. This thesis highlights six characteristics of recorded music, all of which have been affected at various times and in various ways by the evolution of recording technology. Without exception, every new platform for recorded music has improved upon at least one of these six characteristics, although not necessarily without detriment to one of the others. It is in the scope of these improvements that digital music files, as a platform, are fundamentally different to any of their predecessors. Far from simply continuing or exaggerating the trend that forms the customary narrative of the traditional histories of recorded music, digital music files have completely reengineered our relationship with and understanding of the production, distribution, and consumption of music in a very profound way. The thesis explores these changes, and offers some frank yet ultimately encouraging insights as to what the social future of music may hold.
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5

Lubin, Tom. "An historical survey of technology used in the production & presentation of music in the 20th century /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030903.112151/index.html.

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6

Lapp-Szymanski, Jean-Paul. "Technology inna rub-a-dub style : technology and dub in the Jamaican sound system and recording studio." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98547.

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This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).
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7

Yee, Silvia. "The absent ear, a phenomenological investigation into the confluence of recording technology and musical listening." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22561.pdf.

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8

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.

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9

Thorley, Mark. "The unexplored impact of emergent technologies on music industry stakeholders : aspirants, producers and consumers." Thesis, Coventry University, 2016. http://curve.coventry.ac.uk/open/items/42e3ee1b-3756-494c-9f5d-adec1b485be2/1.

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This critical overview draws upon a portfolio consisting of two book chapters, three journal articles and one conference paper all published in international publications between 2011 and the present. The papers have been underpinned, supported and disseminated through 18 conference presentations and a variety of interventions with the commercial environment, all undertaken during the same period. The outputs are crossdisciplinary encompassing technology, acoustics, psychoacoustics, business, music, psychology, physiology, cultural studies etc. The work is tied into two sets of funding from the Higher Education Academy (HEA) focussing on the use of emergent technology to develop music producers’ expertise. The work therefore represents a cohesive but diverse set of outputs, and is reflective of the technologically-driven nature of the creative industries, and the multidisciplinary experience of the author.
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10

Mok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.

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This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition. The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969. The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.
Music
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Книги з теми "Music technology and recording"

1

Thom, Holmes, ed. The Routledge guide to music technology. New York: Routledge, 2006.

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2

1943-, Badal James Jessen, ed. Recording the classics: Maestros, music, and technology. Kent, Ohio: Kent State University Press, 1996.

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Mark, Katz. Capturing sound: How technology has changed music. Berkeley: University of California Press, 2010.

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4

Jacobs, Gabriel. Music and new technology: The MIDI connection. London: Sigma, 1991.

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5

Hilvert, John. Music technology. North Mankato, Minn: Smart Apple Media, 2006.

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6

Wilkie, Godric. The studio musician's jargonbuster: A glossary of music technology and recording. London: Musonix, 1993.

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7

Wilkie, Godric. The studio musician's jargonbuster: A glossary of music technology and recording. London: Musonix, 1997.

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8

Jenny, Bartlett, ed. Practical recording techniques. 5th ed. Boston: Elsevier/Focal Press, 2008.

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9

Jenny, Bartlett, ed. Practical recording techniques. 2nd ed. Boston: Focal Press, 1998.

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Jenny, Bartlett, ed. Practical recording techniques. 3rd ed. Boston, MA: Focal Press, 2002.

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Частини книг з теми "Music technology and recording"

1

Snoman, Rick. "Recording Technology." In Dance Music Manual, 305–14. 5th ed. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781032646848-28.

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Huber, David Miles, and Robert E. Runstein. "MIDI and Electronic Music Technology." In Modern Recording Techniques, 281–335. Edition 9. | New York; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315666952-9.

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Huber, David Miles, Emiliano Caballero, and Robert E. Runstein. "MIDI and Electronic Music Technology." In Modern Recording Techniques, 279–344. 10th ed. New York: Focal Press, 2023. http://dx.doi.org/10.4324/9781003260530-9.

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Eargle, John M. "Principles of Sound Recording." In Music, Sound, and Technology, 259–87. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_13.

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Eargle, John M. "Principles of Sound Recording." In Music, Sound, and Technology, 233–59. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-011-7070-3_13.

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Ashbourn, Julian. "High-Resolution Digital Recording and Re-Sampling." In Audio Technology, Music, and Media, 69–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62429-3_16.

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Canfer, Tim. "Sound manipulation techniques of the recording studio." In Music Technology in Live Performance, 42–85. London: Focal Press, 2023. http://dx.doi.org/10.4324/9781003370406-3.

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Levi, Erik. "Technology Serves Music: Radio and Recording during the Third Reich." In Music in the Third Reich, 124–46. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-24582-6_5.

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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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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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Тези доповідей конференцій з теми "Music technology and recording"

1

Alekseev, Alexander Petrovich, and Tatyana Vladimirovna Alekseeva. "Video search by image - technology "Video Color"." In 24th Scientific Conference “Scientific Services & Internet – 2022”. Keldysh Institute of Applied Mathematics, 2022. http://dx.doi.org/10.20948/abrau-2022-2.

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We all face the challenge of finding information every day. It is required to find text, images, audio or video information. Most often, text is used for the search query. Less often - images. There are services like "Shazam" that search for music using sound recording. We focused on creating a search service that searches for videos. We use images as parameters for the request.
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Мунтяну, Анжелика Ивановна. "VIRTUAL DUET AS A SPECIAL KIND OF VOCAL DUET IN POP MUSIC." In Socio-economics sciences & humanities: сборник статей международной научной конференции (Екатеринбург, Апрель 2023). Crossref, 2023. http://dx.doi.org/10.37539/230428.2023.36.69.004.

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Предлагаемая статья посвящена виртуальному дуэту - оригинальному явлению, опирающемуся на современные достижения в области аудио- и видеозаписи, компьютерных технологий. Автор характеризует разновидности виртуального дуэта как специфического феномена, имеющего место в популярной музыке. The proposed article is devoted to the virtual duet - an original phenomenon based on modern achievements in the field of audio and video recording, computer technology. The author characterizes the varieties of the virtual duet as a specific phenomenon taking place in popular music.
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Matos, Diognei de, and Erickson R. Nascimento. "Musical Hyperlapse: A Multimodal Approach to Accelerate First-Person Videos." In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sibgrapi.est.2022.23258.

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With the advance in technology and social media usage, first-person recording videos has become a common habit. These videos are usually very long and tiring to watch, bringing the need to speed up them. Despite recent progress of fast-forward methods, they do not consider inserting background music in the videos, which could make them more enjoyable. This thesis presents a new method that creates accelerated videos and includes the background music keeping the same emotion induced by visual and acoustic modalities. Our approach is based on the automatic recognition of emotions induced by music and video contents and an optimization algorithm that maximizes the visual quality of the output video and seeks to match the similarity of the music and the video’s emotions. Quantitative results show that our method achieves the best performance in matching emotion similarity while maintaining the visual quality of the output video compared with other literature methods. Visual results can be seen through the link: https://youtu.be/9ykQa9zhcz8.
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Tsai, Wei-Ho, Hsin-Min Wang, and Dwight Rodgers. "Automatic singer identification of popular music recordings via estimation and modeling of solo vocal signal." In 8th European Conference on Speech Communication and Technology (Eurospeech 2003). ISCA: ISCA, 2003. http://dx.doi.org/10.21437/eurospeech.2003-767.

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Ming, Tu, Xie Xiang, and Jiao Yishan. "NMF based speech and music separation in monaural speech recordings with sparseness and temporal continuity constraints." In 3rd International Conference on Multimedia Technology(ICMT-13). Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/icmt-13.2013.67.

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6

Deif, Hatem, Derry Fitzgerald, Wenwu Wang, and Lu Gan. "Separation of vocals from monaural music recordings using diagonal median filters and practical time-frequency parameters." In 2015 IEEE International Symposium on Signal Processing and Information Technology (ISSPIT). IEEE, 2015. http://dx.doi.org/10.1109/isspit.2015.7394320.

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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.

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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Bolya, Mátyás. "A digitális gyűjtésrekonstrukció lehetőségei: az Ethiofolk projekt." In Networkshop. HUNGARNET Egyesület, 2023. http://dx.doi.org/10.31915/nws.2023.15.

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In June, 1965, two young researchers arrived in Addis Ababa at the invitation of Emperor Haile Selassie. The purpose of György Martin (folk dance researcher) and Bálint Sárosi’s (folk music researcher) journey was to examine and explore traditional Ethiopian folklore. They were members of the Folk Music Research Group of the Hungarian Academy of Sciences, whose head was Kodály at that time. From their home institution they had received internationally renowned knowledge and expertise in folk music research, thus they wished to be among the first to explore Ethiopian folklore. Thus, one of the most exciting and productive expeditions of Hungarian folklore research to Africa began. As virtually nothing was available about Ethiopian folklore in Hungary at that time, their journey amounted to an academic leap of faith. At the beginning they had no idea of the richness of the archaic dance and music culture that they would encounter. Without any knowledge of the place and the material that awaited them in Ethiopia, their only support were the 70 years of experience crystalized in the methodology of Hungarian folk music research and the tools of contemporary documentation. While, some cultural exchange between the two countries followed their journey to Ethiopia for a few years, the collection’s material slowly became forgotten. During their journey they kept detailed notes and records, but also made audio and video recordings, photographs, and bought instruments. They returned home all together with approximately 3200 meters of silent video recordings, 30 strips of audio tape and 1000 photographs. Processing the Ethiopian collection meant a new challenge for the team, since the collection itself took place more than five decades ago. We had to learn and understand a methodology that relied on the technology of the time and transfer it to a modern software environment. After digitalization we created a data structure and based on the available records and notes we made a full-scale collection reconstruction, fine-tuning the data and creating cross-references. Thus, we got a meta-data structure that could be placed to the software environment, developed by the Polyphony Project, which is capable of fulfilling online publication purposes as well as assisting research. Behind the scenes of a website that is accessible to everybody, there is a diverse database system that complies with the most rigorous of scientific standards and handles significantly more considerations that what is visible from the displayed elements. How much more is a digital reconstruction of fieldwork than the digitization of analog material? How can the information that can be extracted be maximized five decades later? How can all this be linked to a digital archive concept? The article will seek answers to these questions.
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Felician, Rosca, Madalina Dorgo, and Cristina Struta. "ROMANIA AND THE ELEARNING MUSICAL EDUCATION SYSTEMS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-171.

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The musical education systems based on technology are well-known in Europe and especially in Asia and The United States of America. The countries with the most numerous online systems of musical education are Japan, Israel and The United States of America. In Romania these systems are much more modest with two universities where the system is implemented at higher education level, namely at Gh. Dima Music Academy in Cluj Napoca and Spiru Haret University in București (The Faculty of Music). Here, with all the progress that has been made, we cannot talk about notable performances in the field. At primary and secondary levels (in state schools or private schools) there are no schools where this system is used, not even partially. This paper is a research in the field comparing the level of digital musical educationin Romania and other countries, the benefits of implementing this type of musical education and the inconveniences of the eLearning musical education system in Romania. The present paper deals mainly with electronic and digital systems built in classical pipe organs, initially, in the key action and later in the stop action. Especially in the registration systems, the application of electronic and digital systems to the combination action revolutionized the organ building, the latest developments in digital technologies and systems that are used today in the manufacturing of musical instruments, especially in classical pipe organs. The sampling technology (based on pre-recordings) would necessitate, ideally, storing of significant amounts of audio material. Out of practical concerns, because of the cost factor, but also because of the technical limitations of the systems used, a compromise is usually made. More specifically, the sound recordings are very short, the sound is played back in a loop, the attack phase is synthesized and not the real attack of the pipe, there are no recordings for each individual note but only for a few notes in an octave (from one up to three or four), the others are obtained by applying digital signal processing. All these techniques are lowering the quality potential of the digital organs.
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GERZON, MA. "STEREO RECORDING OF LIVE AMPLIFIED MUSIC." In Reproduced Sound 1987. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/22024.

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Звіти організацій з теми "Music technology and recording"

1

Heffner, R. H., C. D. Adams, and E. L. Brosha. Giant magnetoresistance materials for magnetic recording technology. Office of Scientific and Technical Information (OSTI), December 1997. http://dx.doi.org/10.2172/555556.

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2

Hughes, K. R., and N. L. Moore. The United States Department of Energy Office of Industrial Technology`s Technology Benefits Recording System. Office of Scientific and Technical Information (OSTI), September 1994. http://dx.doi.org/10.2172/10190543.

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Overbay, Larry, and George Robitaille. Standardized UXO Technology Demonstration Site Open Field Scoring Recording Number 231 (Human Factors Applications, Inc.). Fort Belvoir, VA: Defense Technical Information Center, July 2005. http://dx.doi.org/10.21236/ada440249.

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Gupta, Ravi, and Ignacio L. De León. The Impact of Digital Innovation and Blockchain on the Music Industry. Inter-American Development Bank, November 2017. http://dx.doi.org/10.18235/0007978.

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Анотація:
Analogous to the emergence of the internet, the introduction of blockchain technology augurs disruptive change to the music industry. Though in its infancy, the technology presents interesting policy issues related to registering and monetizing intellectual property, policing piracy, and creating and executing more flexible contracts between and among members in the music supply chain, among others. This paper assesses the ability of the distributed ledger technology to steer the industry toward a distributed model and its potential to drastically alter the entire music supply chain. It initiates a conversation about policy implications and how policymakers might address the issues related to adopting blockchain technology, including designing policies that support an environment that enables the well-deserved compensation of artists.
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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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Buehler, David, Richard Fischer, John Wilkerson, Stacy Worley, David Smith, Emily Hockman, and Stephanie Prevost. Demonstration of autonomous aerial acoustic recording systems to inventory Department of Defense bird populations. Engineer Research and Development Center (U.S.), March 2021. http://dx.doi.org/10.21079/11681/39921.

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This demonstration project addressed the Department of Defense need for innovative technology for monitoring avian populations in inaccessible areas. This report presents results from field validation tests for an autonomous aerial acoustic recording system, a helium-filled weather balloon that transported an instrument payload over inaccessible areas (e.g., ordnance impact areas) to record avian vocalizations.
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7

Nucera, Diana J., and Catalina Vallejo. Media-making Pedagogies for Empowerment & Social Change: An Interview with Diana J. Nucera (AKA Mother Cyborg). Just Tech, Social Science Research Council, February 2022. http://dx.doi.org/10.35650/jt.3022.d.2022.

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" As part of our “What Is Just Tech?” series, we invited several social researchers–scholars, practitioners, artists, and activists—to respond to a simple yet fundamental question: “What is just technology?” This interview was conducted by Just Tech program officer Catalina Vallejo, who spoke with Diana J. Nucera, AKA Mother Cyborg, a multimedia artist, educator, and organizer based in Detroit, Michigan. Nucera (she/her) uses music, performance, DIY publishing, community-organizing tactics, and popular education methods to elevate collective technological consciousness and agency. Her art draws from and includes eleven years of community organizing work in Detroit. In their conversation, Vallejo and Nucera spoke about the history of independent media and the internet, the potential of media-making pedagogies for empowerment and social change, and being optimistic about opportunity in the midst of great challenges."
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Di Campli San Vito, Patrizia, Stephen Brewster, Satvik Venkatesh, Eduardo Miranda, Alexis Kirke, David Moffat, Sube Banerjee, Alex Street, Jorg Fachner, and Helen Odell-Miller. RadioMe: Supporting Individuals with Dementia in Their Own Home... and Beyond? CHI '22 Workshop - Designing Ecosystems for Complex Health Needs, 2022. http://dx.doi.org/10.36399/gla.pubs.267520.

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Анотація:
Dementia is an illness with complex health needs, varying between individuals and increasing in severity over time. Approaches to use technology to aid people with dementia are often designed for a specific environment and/or purpose, such as the RadioMe system, a system designed to detect agitation in people with mild dementia living in their own home and calming them with music when agitation is detected. Both the monitoring and intervention components could potentially be beneficially used outside of the own home to aid people with dementia and carers in everyday life. But the adaptation could put additional burdens on the carer, as many decisions and the handling of the data and software could rely on their input. In this paper we discuss thoughts on the potential role of the carer for adaptations of specified system’s expansion to a larger ecosystem on the example of RadioMe.
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Lischer-Katz, Zack, Rashida Braggs, and Bryan Carter. Investigating Volumetric Video Creation and Curation for the Digital Humanities: a White Paper Describing Findings from the Project: Preserving BIPOC Expatriates’ Memories During Wartime and Beyond. The University of Arizona Libraries, 2024. http://dx.doi.org/10.2458/10150.674673.

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Volumetric video capture technologies offer humanities scholars and other researchers new, immersive ways of engaging with historical and cultural knowledge for research and pedagogical purposes; however, the high cost of this technology and a paucity of expert knowledge in the field have limited its adoption. In particular, volumetric video offers rich new possibilities for recording, preserving, and re-experiencing BIPOC (Black, indigenous, and other people of color) stories in immersive detail, which have been underrepresented in the historical record. This technology is still experimental and is typically limited to specialized labs at large research universities. To democratize the technology and ensure that the potential benefits of this new technology can be realized by digital humanities scholars more broadly, a group of researchers at the University of Arizona and Williams College, in collaboration with technical innovators from the world-renowned volumetric capture studio, VoluCap, GmbH, embarked on a project to explore the challenges and potential benefits of volumetric video capture for BIPOC storytelling. The team traveled to Berlin/Potsdam in June 2023 to visit VoluCap Studios and record several volumetric capture videos, including a video of Mike Russell, who told a story about his father’s experiences as an African-American servicemember during World War II. Recording these videos and observing their processing pipeline allowed us to consider the logistical and data curation challenges of this format. Dr. Bryan Carter, lead-PI on the project, is also director of UArizona’s Center for Digital Humanities, which houses a prosumer-level volumetric capture studio. Comparing the workflows at the Center for DH with what was observed at VoluCap allowed the project team to better understand the challenges and benefits of volumetric capture at different scales and levels of quality. Because volumetric videos are expensive and time consuming to create, an important objective of this project was to examine the preservation and curation challenges associated with the digital objects created through the volumetric capture process. Planning for preservation, access, and reuse of volumetric video assets is essential to realizing their full value. This report describes the creation challenges and pedagogical benefits of volumetric video, as well as preservation and curation challenges.
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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