Digital music

The Clavinet is an electromechanical musical instrument produced in the mid-twentieth century. As is the case for other vintage instruments, it is subject to aging and requires great effort to be maintained or restored. This paper reports analyses conducted on a Hohner Clavinet D6 and proposes a computational model to faithfully reproduce the Clavinet sound in real time, from tone generation to the emulation of the electronic components. The string excitation signal model is physically inspired and represents a cheap solution in terms of both computational resources and especially memory requirements (compared, e.g., to sample playback systems). Pickups and amplifier models have been implemented which enhance the natural character of the sound with respect to previous work. A model has been implemented on a real-time software platform, Pure Data, capable of a 10-voice polyphony with low latency on an embedded device. Finally, subjective listening tests conducted using the current model are compared to previous tests showing slightly improved results.

This paper reports a user study on creating, consuming and managing digital music content. We consider people's personal relationship to the music entertainment technology and content, and the typical actions carried out in and outside of the home domain. The study was carried out in two cultural environments, New York City and Hong Kong.

We propose a new conceptual model for understanding technology evolution that highlights dynamic and highly interdependent relationships among multiple technologies. We argue that, instead of considering technologies in isolation, technology evolution is best viewed as a dynamic system or ecosystem that includes a variety of interrelated technologies. By considering the interdependent nature of technology evolution, we identify three roles that technologies play within a technology ecosystem. These roles are components, products and applications, and support and infrastructure. Technologies within an ecosystem interact through these roles and impact each others' evolution. We also classify types of interactions between technology roles, which we term paths of influence. We demonstrate the use of our proposed model through examples of wireless networking (Wi-Fi) technologies and a business mini-case on the digital music industry.

With digitalization, music listening practices have also transformed and become realized through the Internet. Online music listening practices, which are realized through file sharing applications and music download pages, as well as online music platforms, have affected both the music industry and music listeners in various ways. Online music, which should be considered in connection with the culture industry and which affects the music industry in legal and economic dimensions, has brought music listeners to the position of users and combined practices such as interaction, sharing and content production caused by this position with listening to music. This study aims to address the transformation and effects of online music in terms of users. As a result of the research, it has been concluded that online music platforms have transformed music listening practices, made listeners a productive user, and that some features of online music platforms affect user motivations.

The increasing pervasiveness of the internet, broadband connections and the emergence of digital compression technologies have dramatically changed the face of digital music piracy. Digitally compressed music files are essentially a perfect public economic good, and illegal copying of these files has increasingly become rampant.

This essay argues that musicians have been at the forefront of the multimedia revolution. Rather than limit multimedia's creative locus to individuals working with a small range of tools/instruments, we address the increasing dispersion of productive processes across communities, technologies, and spaces. New media culture has reached a point where one can compose on a laptop, sample, loop, and create mashups and heretofore-unknown musics. These developments indicate that contemporary re/mix/digital music culture offers vocabularies, models, and practices for new media writing and culture generations beyond the tradition of text-based composition or the singular work of art. The article traces a genealogy from Wagner's notion of the "total art work" up to contemporary digital/remix to show how new media extend techniques that have long been developing. Just as the dispersion of production across communities and technologies transforms musical aesthetics, so also the aesthetic experience itself changes. New media culture is less resonant with interpretation than with engagement, and to explain this experiential difference the article develops the concepts of "worlding" and "prosumer." Additionally, this article considers musical and multimedia attempts to incorporate new input streams, including those too often categorized (and excluded) as noise. Such input streams, in combination with other feedback-driven and distributed forms of production, can be theorized as part of an expansive, immersive, and experiential approach to new media we articulate as worlding.

Along with better connectivity, massive free music downloading and streaming have reached the Himalayan ranges of the Garhwal region (North India) in the 2000s. It has been a game-changer for the creation, circulation and consumption practices of Garhwali music, a repertoire sung in the local dialect. Mp3s and mp4s are gradually replacing DVDs and CDs on the market, and the economic scenario is comparable to that of national creative industries: a more scattered distribution of content and profits, a tougher competition for visibility. Yet Garhwali music also faces specific challenges due to its topography, its high percentage of emigrants and its labeling as “regional music”; these challenges can be analyzed ethnographically from the point of view of artists and audiences. Indeed, Garhwali music’s diffusion lies increasingly in the hands of the listeners on one hand, who upload content, circulate it offline, act as trend setters and make it a matter of collective cultural heritage; and in the hands of bigger third-party players on the other hand, who like label T-Series are engaged in a battle against piracy. In such online distribution channels, visibility is the key value and the law is not always the reference for authority or authorship. The situation is dire for most local artists and producers, but strategies are being experimented to take advantage of this new environment.

The second edition of The Digital Musician is an expansive book reflecting more than ten years of research by the author and examining the complex nexus of creativity, cultural awareness, performance and sound production. In this volume, Andrew Hugill argues that the development of an individual creative voice is an essential ingredient of musical creativity, far more significant to creating innovative music than whatever tools or techniques one might use. As noted in the preface, the title of the book refers to all musicians working creatively with sound. This broad definition embraces EDM creators.

Access to digital music collections is nowadays facilitated by content-based methods that allow the retrieval of music on the basis of intrinsic properties of audio, in addition to advanced metadata processing. However, access to ethnic music remains problematic, as this music does not ...

עבודת סמינר הכוללת סקירה וניתוח מצבה של תעשיית המוזיקה העולמית בכלל ותעשיית המוזיקה הישראלית בפרט לאור השפעתה של המהפכה הדיגיטלית שהתרחשה בעשור הקודם והשיפורים הטכנולוגים, והזמינות של מדיום האינטרנט בעשור הנוכחי.
העבודה בוחנת את מצבה של תעשיית המוזיקה בהקשרים עסקיים, טכנולוגים ורגולטורים ומציעה תוכנית פעולה אסטרטגית לתעשייה המקומית על פי מודל הנשען על היבטים מסוימים מתורת המשחקים ותיאוריות כלכליות.

נכתב במסגרת תואר שני למדיניות ציבורית באוניברסיטת תל-אביב בקורס ״חשיבה אסטרטגית״ בהנחייתו של פרופ׳ איתי סנד.

This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate—the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K-pop stars to new entertainment and art activities.
Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does.

In den Gehörbildungsunterricht an Musikhochschulen wird häufig auch interaktives Musizieren in irgendeiner Form einbezogen. Praktische Fertigkeiten können etwa mit Hilfe von Aufgabentypen wie Blattsingen und Blattspielen, Nachsingen und Nachspielen oder Spielen aus dem Gedächtnis in den Gruppenunterricht einfließen und im Rahmen einer systematischen Hörschulung kultiviert werden. Seit Beginn der Corona-Pandemie wurde der Unterricht zum großen Teil ins Netz verlagert und zumeist in Videokonferenzen erteilt, gelegentlich auch unterstützt durch Web-Tutorials und andere asynchrone E-Learning-Angebote; derartige Unterrichtsformen spielen in der Hochschullehre voraussichtlich auch weiterhin eine Rolle. Dabei stellt sich die Frage, ob und auf welche Weise das interaktive Musizieren, das in der Präsenzlehre bereits etabliert ist, auch im Online-Unterricht realisiert werden kann. Der Text skizziert einige Möglichkeiten, wie das virtuelle Klavierspiel in der digitalen Lehre eingesetzt werden kann – beispielsweise über ein MIDI-Keyboard, geteilten Computerton oder eine kollaborative OnScreen-Klaviatur.

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production.

Table of contents
List of Figures
List of Tables
List of Contributors

Chapter 1: The Production of Music and Sound: A Multidisciplinary Critique
Eliot Bates and Samantha Bennett

Section 1: Situating Production: Place, Space and Gender

Chapter 2: Field Recording and the Production of Place
Tom Western (University of Edinburgh, Scotland)

Chapter 3: The Poietics of Space: The Role and Co-performance of the Spatial Environment in Popular Music Production
Damon Minchella (University of Birmingham, England)

Chapter 4: “An Indestructible Sound”: Locating Gender in Genres Using Different Music Production Approaches
Paula Wolfe (Sib Records, England)

Section 2: Beyond Representation

Chapter 5: Producing TV Series Music in Istanbul
Eliot Bates (City University of New York, USA)

Chapter 6: Reclamation and Celebration: Kodangu, a Torres Strait Islander Album of Ancestral and Contemporary Australian Indigenous Music
Karl Neuenfeldt (Queensland Conservatorium, Griffith University, Australia)

Section 3: Electronic Music

Chapter 7: “All Sounds Are Created Equal”: Mediating Democracy in Acousmatic Education
Patrick Valiquet (University of Edinburgh, UK)

Chapter 8: Technologies of Play in Hip-Hop and Electronic Dance Music Production and Performance
Mike D'Errico (UCLA, USA)

Section 4: Technology and Technique

Chapter 9: Weapons of Mass Deception: The Invention and Re-invention of Recording Studio Mythology
Alan Williams (UMASS, Lowell, USA)

Chapter 10: Auto-Tune In Situ: Digital Vocal Correction And Conversational Repair
Owen Marshall (Cornell University, USA)

Section 5: Mediating Sound and Silence

Chapter 11: Listening To or Through Technology: Opaque and Transparent Mediation
Ragnhild Brøvig-Hanssen (University of Oslo, Norway)

Chapter 12: Six Types of Silence
Richard Osborne (Middlesex University, England)

Section 6: Virtuality and Online Production

Chapter 13: Intermixtuality: Case Studies in Online Music [Re]Production
Samantha Bennett (Australian National University, Australia)

Chapter 14: Crowdfunding and Alternative Modes of Production
Mark Thorley (Coventry University, England)

Index

Garhwal is a division of the Himalayan state of Uttarakhand, North India. Like other Indian areas, Garhwal developed a blooming local music industry from the 1950s onwards (Fiol 2008), with a golden age in the 1980s-90s and serious difficulties since the 2000s due to digitization. This intervention backs on a study of the audience for online Garhwali music clips (Nowak 2013), as well as recent field work about Garhwali music production, distribution and reception in Garhwal and in Delhi. The combination of these angles allows a brief exploration of the “glocal”: in the communication chain, how do songs get to be labeled as “Garhwali” or “from Garhwal”?

This practice-as-research study documents the development of a sonic arts approach to film sound design. An interdisciplinary conceptual framework that combines selected theories of electroacoustic music and apposite perspectives from film soundtrack studies informs the approach. Over the course of the research, a broadening practical knowledge of theoretical applications influenced the development of the sound design approach and its conceptual framework.

The term ‘sonic arts’ characterises the compositional tenets of the sound design approach, which takes the form of an inter-modal strategy based on the interdependence of two compositional modes. The intersonic compositional mode corresponds to sound-object design and to the forming of meaningful structural relationships between soundtrack elements. The audiovisual compositional mode corresponds to forming meaningful relationships between soundtrack elements and film images. The overall approach also reflects Walter Murch’s concept of sound design as a multifaceted practice endeavour, which includes taking creative responsibility for the soundtrack in post-production (Murch 1995).

The presentation of research in this thesis comprises two distinct parts. The first part outlines the sonic arts approach, defines the theoretical basis of its conceptual framework, and identifies potential practice applications. The second part presents three case studies of sound design practice for independent film projects. The case studies document applications of the conceptual framework and critically reflect on acquired practical knowledge of the sonic arts approach.

The study concludes that the electroacoustic music theories of spectromorphology and indicative fields (Smalley 1986; 1992; 1997) have useful applications in sound design practice as a perception-based system of analysis. The research also illustrates that sonic landscape theory (Wishart 1986; 1996) constitutes a creatively enabling conceptual framework for sound design when it is applied to the inter-modal compositional strategy.

Refs:

Murch, W. (1995) ‘Sound Design: The Dancing Shadow’, in Boorman, J., Luddy, T., Thomson, D. and Donohoe, W. (eds.) Projections 4: Film-makers on Film-making. London: Faber and Faber, pp. 237–251.

Smalley, D. (1986) ‘Spectro-morphology and structuring processes’, in Emmerson, S. (ed.) The Language of Electroacoustic Music. London: Macmillan, pp. 61–93.

Smalley, D. (1992) ‘The Listening Imagination: Listening in the Electroacoustic Era’, in Paynter, J., Howell, T., Orton, R. and Seymour, P. (eds.) Companion to Contemporary Musical Thought (Vol. 1). London: Routledge, pp. 514–554.

Smalley, D. (1997) ‘Spectromorphology: Explaining Sound Shapes’, Organised Sound, 2(2), pp. 107–126.

Wishart, T. (1986) ‘Sound Symbols and Landscapes’, in Emmerson S (ed.) The Language of Electroacoustic Music. London: Macmillan, pp. 41–60.

Wishart, T. (1996) On Sonic Art. London: Routledge.

The iPod digital music player has been available since late 2001, and even in higher education, its presence has been seen, although mostly in the hands of students and rarely for outcomes-based educational purposes. In 2004, Duke University provided free iPods to all 1,650 first year students, which subsequently enabled faculty to create learning opportunities, which actively engaged students to integrate digital audio and more into their lessons. Our study takes an alternate approach in which the Center for Teaching and Learning provided a small group of faculty (n = 11) from different disciplines with a free iPod, microphone, training, support and collaboration opportunities. The faculty members were asked to create innovative instructional methods and then use the tool in their classes for the 2008 spring semester. In return, faculty agreed to share their outcomes, which would become part of a resource showcase to assist other faculty. So, instead of distributing the technology to a wide audience, where only some may participate, and our goal was to identify those who would actively engage in the project, develop specific applications, and ultimately assist faculty and subsequently students, in integrating functional instructional technology. The primary purpose of this study is to share another model for using and distributing electronic media tools in higher education and secondarily to provide the results of this model in the form of varied and successful uses of the device in teaching and learning.

Shortly before Gilles Deleuze's death, he discovered a new kind of music: glitch, in particular, Oval's Systemisch. "[Achim] Szepanski contacted Deleuze himself, sending material by Oval and other Mille artists, and asking if he'd write an essay for Achim's planned anthology of techno theory, Maschinelle Strategeme. The great man wrote back saying he couldn't do it, but gave his blessing to the label, and said that he particularly dug Oval. 'He even wrote about specific tracks!' exclaims Achim" (Technodeleuze and Mille Plateaux, 40-41). Now, why did Deleuze like this album so much? Sadly, his written comments were lost in a fire, leaving it as a total mystery what it is about glitch music that moved him so profoundly. Nonetheless, while we may never find documentation providing a certain answer, we might still take this situation as an opportunity to advance our understanding of Deleuze's other musically-related philosophical notions. For instance, Deleuze's characterization of rhythm is a promising companion-concept to glitch, given the particular way Deleuze understands rhythm as involving irregularities and unpredictabilities. So we ask: might there be ways of understanding glitch as a continuation and elaboration on his notion of rhythm? Or in the very least, might a study of glitch music illuminate certain important conceptual features of Deleuze's notion of rhythm?

Özet Müziğin bir endüstri haline dönüşmesi ve icracıların onu ticari üretime dönüştürecek bir yayıncıya ihtiyaç duyması, Sanayi Devrimine dayanmaktadır. Müzik üretim ve tüketiminin kitleselleşmesi ilk olarak 19. Yüzyıl'da ortaya çıkmıştır. New York merkezli olan ve burada "Tin Pan All şirketler, notaların seri üretim ve dağıtımı konusunda kendilerine yeni bir endüstri alanı kurmaya başlamışlardır. Müzik endüstrisinin ilk aşaması olarak bilinen bu yapılaşma, müziğin yaygınlaşması ve dağıtımı için satışları arttırma amaçlı tanıtım ve pazarlama çalışmalarına ağırlık vermiştir. Endüstrinin ikinci aşaması olarak tanımlanan dönemde hayatımıza giren radyo ve televizyon teknolojilerinin müzik üretim ve dağıtım kanallarına yaptığı en önemli etki kullanıcıların dijitalleşme erişimini kolaylaştırmasıdır. Yirminci yüzyılın sonlarında iletişim teknolojisindeki gelişmelere bağlı olarak ortaya çıkan yeni medya ortamları ise müzik endüstrisinde belirgin ve köklü değişiklikler yaşanmasına neden olmuştur. Müzik end müzik üretim ve dağıtımında majör beşli olarak adlandırılan büyük müzik şirketlerinin yeni medya kanallarındaki varlığının önemini de arttırmaktadır. Bu çalışma, müzik endüstrisinde yaşanan söz kon olanaklar çerçevesinde değerlendirmektedir. Araştırmanın temel amacı müzik üretim ve dağıtım sürecinde geleneksel olarak büyük müzik şirketlerine bağımlı olan icracıların yeni medya ortamlarının sağladığı yeni üretim ve dağıtım kanalları sayesinde kendi bireysel endüstrilerini nasıl oluşturduklarını keşfetmeye çalışmak ve bu amaçla söz konusu süreci örnekler üzerinden incelemektir. Araştırma Youtube'da oluşturulan bireysel müzik kanalı örneklerinden yola çıkar değişimi tartışmakta ve söz konusu değişimi "SocialBlade" sitesinde yer alan sayısal verilerle de destekleyerek ortaya koymaya çalışmaktadır. Abstract The fact that music becomes an industry and that practitioners need a publisher to commercialize it is based on the Industrial Revolution. Massification of music production and consumption first appeared in the 19th century. ne dönüşmesi ve icracıların onu ticari üretime dönüştürecek bir yayıncıya ihtiyaç duyması, Sanayi Devrimine dayanmaktadır. Müzik üretim ve tüketiminin kitleselleşmesi ilk olarak 19. Yüzyıl'da ortaya çıkmıştır. New York merkezli olan ve burada "Tin Pan Alley" olarak adlandırılan şirketler, notaların seri üretim ve dağıtımı konusunda kendilerine yeni bir endüstri alanı kurmaya başlamışlardır. Müzik endüstrisinin ilk aşaması olarak bilinen bu yapılaşma, müziğin yaygınlaşması ve a amaçlı tanıtım ve pazarlama çalışmalarına ağırlık vermiştir. Endüstrinin ikinci aşaması olarak tanımlanan dönemde hayatımıza giren radyo ve televizyon teknolojilerinin müzik üretim ve dağıtım kanallarına yaptığı en önemli etki kullanıcıların dijitalleşmeye başlayan müziğe erişimini kolaylaştırmasıdır. Yirminci yüzyılın sonlarında iletişim teknolojisindeki gelişmelere bağlı olarak ortaya çıkan yeni medya ortamları ise müzik endüstrisinde belirgin ve köklü değişiklikler yaşanmasına neden olmuştur. Müzik endüstrinin bu üçüncü aşamasına damgasını vuran dijitalleşme, müzik üretim ve dağıtımında majör beşli olarak adlandırılan büyük müzik şirketlerinin yeni medya kanallarındaki varlığının önemini de arttırmaktadır. Bu çalışma, müzik endüstrisinde yaşanan söz konusu değişim ve dönüşümü yeni medyanın sağladığı olanaklar çerçevesinde değerlendirmektedir. Araştırmanın temel amacı müzik üretim ve dağıtım sürecinde geleneksel olarak büyük müzik şirketlerine bağımlı olan icracıların yeni medya ortamlarının i üretim ve dağıtım kanalları sayesinde kendi bireysel endüstrilerini nasıl oluşturduklarını keşfetmeye çalışmak ve bu amaçla söz konusu süreci örnekler üzerinden incelemektir. Araştırma Youtube'da oluşturulan bireysel müzik kanalı örneklerinden yola çıkarak müzik endüstrisinde yaşanan değişimi tartışmakta ve söz konusu değişimi "SocialBlade" sitesinde yer alan sayısal verilerle de destekleyerek ortaya koymaya çalışmaktadır. The fact that music becomes an industry and that practitioners need a publisher to commercialize it is based on the Industrial Revolution. Massification of music production and consumption first appeared in based companies, in this study called as "Tin PanAlley", have started to set up a new industrial area for mass production and distribution of notes. Marketing and promotional eysel Endüstriye la İlişkiler ve Tanıtım Bölümü, Kocaeli Üniversitesi Halkla İlişkiler ve Tanıtım ABD, ne dönüşmesi ve icracıların onu ticari üretime dönüştürecek bir yayıncıya ihtiyaç duyması, Sanayi Devrimine dayanmaktadır. Müzik üretim ve tüketiminin kitleselleşmesi ilk olarak ey" olarak adlandırılan şirketler, notaların seri üretim ve dağıtımı konusunda kendilerine yeni bir endüstri alanı kurmaya başlamışlardır. Müzik endüstrisinin ilk aşaması olarak bilinen bu yapılaşma, müziğin yaygınlaşması ve a amaçlı tanıtım ve pazarlama çalışmalarına ağırlık vermiştir. Endüstrinin ikinci aşaması olarak tanımlanan dönemde hayatımıza giren radyo ve televizyon teknolojilerinin müzik ye başlayan müziğe erişimini kolaylaştırmasıdır. Yirminci yüzyılın sonlarında iletişim teknolojisindeki gelişmelere bağlı olarak ortaya çıkan yeni medya ortamları ise müzik endüstrisinde belirgin ve köklü değişiklikler üstrinin bu üçüncü aşamasına damgasını vuran dijitalleşme, müzik üretim ve dağıtımında majör beşli olarak adlandırılan büyük müzik şirketlerinin yeni medya usu değişim ve dönüşümü yeni medyanın sağladığı olanaklar çerçevesinde değerlendirmektedir. Araştırmanın temel amacı müzik üretim ve dağıtım sürecinde geleneksel olarak büyük müzik şirketlerine bağımlı olan icracıların yeni medya ortamlarının i üretim ve dağıtım kanalları sayesinde kendi bireysel endüstrilerini nasıl oluşturduklarını keşfetmeye çalışmak ve bu amaçla söz konusu süreci örnekler üzerinden incelemektir. Araştırma ak müzik endüstrisinde yaşanan değişimi tartışmakta ve söz konusu değişimi "SocialBlade" sitesinde yer alan sayısal verilerle de

The goal of this paper is to sketch the value chain and the business models of the online distribution of music. The perspective of the online digital music market is rather deceiving but the opportunities seem to remain high. Considering the rise of the P2P networks of free music digital files, it seems reasonable to assume this new way to distribute music meets consumer needs. Based on a review of the literature and executive interviews, the paper presents the traditional distribution models; then it addresses how P2P piracy deals with the copyright issues, and describes some emergent business models that could be an answer to illegal digital music distribution.

Prima carte din Romania dedicata analizei filosofice a muzicii asistate de computer.

(c)2013 Editura Muzicala, Bucuresti, Romania

Postfata de prof.univ.dr. Octavian Nemescu

Ii rog pe cei care doresc un exemplar fizic al lucrarii sa ma contacteze pe e-mail : [email protected]

The use of digital tools to produce, reproduce and listen to the music have revolutionized the traditional relationships between composer (or musician), performer, producer and listener. In this paper, I try to draw up the historical development of digitalization of the three phases that articulate the music experience (production, reproduction, listening) today, with some considerations about the aesthetic implications related to these processes. 1. Premessa La pervasività della dimensione digitale è uno dei tratti specifici della contemporaneità, la quale, da tale pervasività, è stata plasmata in molti suoi aspetti. L'esistenza quotidiana si sviluppa lungo percorsi di-gitali più o meno impervi, più o meno comprensibili, dei quali si ha più o meno consapevolezza. Si tratta del risultato di un'evoluzione, dura-ta alcuni decenni e ancora in corso, che ha visto intersecarsi e so-vrapporsi linee di ricerca diverse, molte delle quali convergenti verso due obiettivi principali: la smaterializzazione e la rapidità dei processi, producendo una profonda e radicale trasformazione nel rapporto uomo-uomo e uomo-mondo. Le nuove tecnologie, di fatto, affermano e confermano l'uscita da un doppio paradigma del XX secolo, quello che intende la tecnica come un mezzo per supplire alle carenze adattive umane e quello che concepisce la tecnica come protesi o come appendice, in qualche 1 [email protected].

The proliferation of MP3 players and the exploding amount of digital music content call for novel ways of music organization and retrieval to meet the ever-increasing demand for easy and effective information access. As almost every music piece is created to convey emotion, music organization and retrieval by emotion is a reasonable way of accessing music information. A good deal of effort has been made in the music information retrieval community to train a machine to automatically recognize the emotion of a music signal. A central issue of machine recognition of music emotion is the conceptualization of emotion and the associated emotion taxonomy. Different viewpoints on this issue have led to the proposal of different ways of emotion annotation, model training, and result visualization. This article provides a comprehensive review of the methods that have been proposed for music emotion recognition. Moreover, as music emotion recognition is still in its infancy, there are many open issues. We review the solutions that have been proposed to address these issues and conclude with suggestions for further research.

Although musical language is only an analogy to human language, there is enough evidence to suggest that we might find much similarity in between. Renowned composer Iannis Xenakis, besides using this language to convey his ideas to performers, makes use of other tools to shape up his ideas in his mind. These tools are some sketches and diagrams which could visualise music so that Xenakis, or anybody else who has very basic knowledge on frequency and diagrams, can see the end result of his bits of imagination. What concerns me most here why and how Xenakis benefited from those drawings. This paper aims to understand the creative process of a musician in general, and the way Xenakis imagined and created in particular.

, as well as in a handful of related examples, we argue that one can indeed identify specific aural qualities associated with digital sound, and that these qualities may be used to achieve different aesthetic effects as well as to shed light on mediation and medium specificity as such.

This thesis was originally submitted as Alves, K, Digital distribution music services and the demise of the traditional music industry: three case studies on mp3.com, Napster and Kazaa, Bachelor of Information and Communication Technology (Honours), University of Wollongong, 2004, 171p. Digital distribution music services and the demise of the traditional music industry: three case studies on mp3.com, Napster and Kazaa

The essay focuses on Carsten Nicolai’s (a.k.a. Alva Noto) musical, audiovisual and multimedia language. In order to deepen this topic, a comparative analysis of the three trioon versions by Alva Noto and Ryuichi Sakamoto is presented: trioon I and trioon II from the album vrioon (2002) and trioon, the audiovisual performance recorded in insen live (2006).
The continuity among musical and visual, formal and temporal construction, will be highlighted through the comparative analysis. The three versions are based on a limited set of materials. Nonetheless, they follow their own formal path. They diverge both on the macro-formal niveau, that is, on the structuring of the material and the sections, and on the micro-formal one, that is, on the temporal dimension, on the rhythms construction and on the tonal evolution. The rhythmical techniques and their perception constitute the core of the analysis. The essay highlights the continuity of the work on the gestalt principles, on the form in all its dimensions, and on its perception, underlying Alva Noto’s artistic thought and praxis: a perspective that he shares with other EDM’s artists, such as Ryoji Ikeda.

Despite its rich sonic past, histories of the Web generally focus on the visual; we track website snapshots over time with tools like the Wayback Machine, focus on different eras of web design styles like Web 2.0 or flat design and praise the Web’s visual technical innovations. What if we amplified this knowledge of the Web’s visual and technical history by listening to it as well? Accordingly, this chapter explores some of the Web’s sonic past by considering technologies that made sound playable on the Web and some of the early communities that formed around new modes of music distribution.

This is a Paper Response to the question: Has Digitisation Killed the Music Business?

------------David Kusek and Gerd Leonhard stresses the point often overlooked that “the music business is still in a very good shape today. The problem is with the record industry and CD sales” (2005: 6) where digitisation is killing it, as Jones’ observed how "recording sound matters less and less, and distributing it matters more and more" (2000: 217) against the advances of "technological transitions... [to] impact on cultural, business and industrial processes as development of the Internet into a global commercial medium" (ibid, 220)... Therefore, challenges in the future waits for the music business to adapt and find creative solutions to not eliminate its competitors, but to collaborate to reach and give a variety of music to the global audience in the comfort of their own screen.

Purpose -The purpose of this paper is to produce a critical history of MP3 technology in an effort to show how its stature as the digital music format of choice had nothing to do with music or associated industries and that its configuration as a product to be bought and sold was unintended. Design/methodology/approach -The approach is reminiscent of Michel Foucault's critical histories, which sought to problematise our current understanding of existing cultural arrangements by unearthing the conditions that made the production of knowledge and their accompanying artefacts possible.

My PhD was a practice-as-research project. I felt, after submitting the thesis, that a large part of the written research could be useful for other researchers, but other material had significance only for my own creative practice. The thesis has not been available until now. I recently decided to collect the most widely useful material together from the thesis and ‘publish’ it via ResearchGate and Academia. Practical outcomes from the research can be found at https://obe-lus.bandcamp.com/

Original Abstract:- Electronica developed in the last decade of the twentieth century as an area of liminal musical practice that breached the creative and institutional divides between academic and popular electronic music. In forging innovative modes of composition and technological practice, electronica artists created a musical terrain requiring new modes of analysis to develop an understanding of the poetics of electronica. This study responds to a shortfall in previous work in the field by developing an integrative and multi-perspectival analysis of the creative practices and contexts of electronica. This is achieved through historical, contextual, theoretical and practical research that synthesises material drawn from the fields of cultural studies, sociology, musicology and popular music studies. In considering how electronica comes into existence, the study identifies the individual and social factors that combine in the compositional practices of electronica. It explores the historical development of electronica, and examines genre, style and how electronica has challenged the fixity of popular and institutional musical categorisation. The social authorship of music, where electronica musicians are identified as séantifically and dialogically channelling earlier musical voices, is balanced with an outline of a psychotopographic internal musical dialogue. The producer-creator is identified as drawing both from individual and social repositories in forming musical works. Moving beyond technological determinist and constructivist models, the study emphasises the affordances of music technologies, and the compositional practices that electronica musicians have developed as a response to and in collaboration with these technologies. A development of themes concerning atemporality and spectrality in the fields of glitch and hauntology provides a backdrop to my creative practice as obe:lus that informs and was informed by the findings of my historical, contextual and theoretical research. Both glitch and hauntology are viewed as problematising notions of future and past by critiquing and foregrounding the media through and from which they are created.

This paper considers the market for digital music. We claim that the combination of the MP3 format and peer-to-peer networks has made music non-excludable and this feature is essential for the understanding of the economics of the music market. We study optimal business models for selling non-excludable goods and show that despite promising theoretical results, adding just a slight uncertainty about the number of customers has significant negative implications for profitability. Indeed, as the average number of customers tends to infinity the average payment per customer converges to zero. Therefore, the music industry should concentrate on alternative ways of creating profit such as selling access to listeners, concerts, merchandise, ringtones etc.

Au tournant du XXIe siècle, la musique enregistrée, en grande partie déjà convertie dans les formats numériques, commençait à migrer-comme toutes les entités du monde social-dans le Web. Ce qui avait l'air de se présenter comme un simple changement dans le système de diffusion d'un produit artistique était appelé à profondément bouleverser l'apparat de l'industrie musicale-apparat qui avait depuis longtemps fait du disque son pivot central. Nous sommes confrontés à une véritable révolution, dont les effets se font sentir sur un vaste terrain où se croisent des questions anthropologiques, économiques, légales, éthiques, sociales et tant d'autres, dans une réorganisation presque complète du monde musical global. Ce colloque entend étudier ces transformations en trois volets ou à partir de trois points de vue qui, pour autant qu'ils puissent se trouver souvent entremêlés dans la réalité, nous nous proposons de considérer comme distincts : celui de la production (comment le numérique et le web ont transformé la production des oeuvres et des performances), celui de la réception (comment ils ont transformé notre manière d'en faire expérience ou plus précisément : de les percevoir, de les apprécier et de les juger) et celui de l'ontologie (comment ils ont transformé la manière d'être des entités musicales).

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At the turn of the twenty-first century, recorded music, largely already converted into digital formats, began to migrate-like all entities in the social world-into the Web. What appeared to be a simple change in the broadcasting system of an artistic product was destined to profoundly overturn the structures and the dynamics of the music industry-whose central pivot had long since been vinyl recording. For about 15-20 years, we have been facing a revolution in the practice and in the experience of music. Its effects are strong and far-reaching: anthropological, economic, legal, ethical, social and other issues intersect in an almost complete reorganization of the global musical world. This symposium aims to study these transformations from three points of view. Although they can often be, and often are, intertwined in reality, we propose to consider them separately: the dimension of production (how digital technology and the web have transformed production, and the dissemination of works and performances?), the dimension of reception (how digital technology and the web transformed our way of experiencing music or, more precisely, of perceiving, appreciating, and judging it?) and the dimension of ontology (how digital technology and the web transformed the being of traditional musical entities and which new entities have they made possible?).

Over the past hundred years, philosophers of music have debated the nature of, and relations that hold between, musical works and their performances. The gradual proliferation of recording and reproduction technologies over the same period further complicated such debates, encouraging some contemporary philosophers to consider similar relations between musical works and their recordings. In recent years, profound changes in the nature of such technologies have resulted in a new phenomenon, in which recordings of the past have been transferred from their original medium into the digital domain. Responding to this phenomenon, thisarticle assesses the relations that hold between musical works, recordings and their digitisations. It starts by surveying existing theories that relate works and performances, paying particular attention to the realist notion of types and tokens. It goes on to consider three possibilities in which this notion might be employed and adapted in order to account for existence of recordings and their digitisations. The final of these three possibilities, which is viewed as the most plausible, does not merely offer a revisionist account of ongoing philosophical debates. Rather, it argues for a radical expansion of our understanding of musical works, and addresses the complex network of relations that they enter into with regard to recordings and digitisations.

The iPod digital music player has been available since late 2001, and even in higher education, its presence has been seen, although mostly in the hands of students and rarely for outcomes-based educational purposes. In 2004, Duke University provided free iPods to all 1,650 first year students, which subsequently enabled faculty to create learning opportunities, which actively engaged students to integrate digital audio and more into their lessons. Our study takes an alternate approach in which the Center for Teaching and Learning provided a small group of faculty (n = 11) from different disci-plines with a free iPod, microphone, training, support and collaboration opportunities. The faculty members were asked to create innovative instructional methods and then use the tool in their classes for the 2008 spring semester. In return, faculty agreed to share their outcomes, which would become part of a resource showcase to assist other faculty. So, instead of distributing the technology...

This paper explores the evolution of the digital age of music, focusing on how streaming services have changed the way that the music industry creates, produces and distributes music. Based on a study conducted in 2016,  a number of participants were asked a series of questions based on their music purchasing and listening habits. This paper examines the outcome of these results while incorporating further research to discover the future possibilities and limitations of music streaming services.

Understanding the dynamics of technology evolution-whether for the purposes of forecasting new product or technology infrastructure developments, or identifying the basis for future digital convergence in the global market-is a key challenge for innovators, senior managers, and policymakers. This research provides an overview of a new ecosystem model of technology evolution, the purpose of which is to structure these kinds of assessments and suggest reusable analysis structures to ensure that total environment of technological innovation is considered.

While the traditional notion of "opera" describes a production that incorporates musical elements with other art forms and media, the conceptual and technical considerations required to mount an electronic multimedia opera add significant layers of complexity. Design issues including projecting visual media, the implementing of an immersive audio environment and maintaining synchronization (between live singers and digital music, 3D computer animation, stage lighting and projected imagery) add to the standard list of compositional and production challenges. An overview of the design and implementation of such a production, StarChild: The Opera, offers a primer in the musical and extra-musical considerations that are required to realize a large-scale composition in an electronic mixed media environment. 1 A New Approach to Opera The production of traditional opera is often based upon fairly standardized musical and dramatic staging techniques. Until recently, the vast expre...