Virtual Studio Technology inside Music Production

2014 ◽  
pp. 231-241 ◽  
Author(s):  
George Tanev ◽  
Adrijan Božinovski
Keyword(s):  
Music Production ◽  
Virtual Studio

Music publications in Galicia in the 19th — beginning of the 20th centuries: production, advertising, pricing

2019 ◽  
pp. 481-499
Author(s):  
Olga Osadtsia
Keyword(s):  
Book Publishing ◽  
Initial Form ◽  
Music Production ◽  
Bibliographic Information ◽  
Financial Factor ◽  
Determining Factors ◽  
Book Selling ◽  
The Cost ◽  
Import Trade

The main forms and methods of distribution of music publications in Galicia in the XIX — early XX centuries are scrutinized. The demand for the relevant music production is one of the determining factors in the formation of the musical publishing repertoire, its structure and special features in the process of the existence of music publications in society. It is noted that export-import trade in books has become especially widespread in Galicia; there are facts about the links between publishers and booksellers in Lviv and Warsaw. The basic types of presentation of book advertising of music products, its regional peculiarities, and ways of its placement are considered. Special emphasis is placed on the role of specialized press in the advertising of music products, typical examples of press advertising. The registration bibliographic information as the initial form of music bibliography and the forms of its compilation are distinguished. The emphasis is placed on the importance of thorough critical articles as a separate typological group of bibliographic publications under the conditions of formation of the Ukrainian bibliography, in which the main importance is given to the disclosure of the content and evaluation of the reviewed work. The combination of article genres and reviews on examples of separate publications by Stanislav Lyudkevych and Ivan Franko is traced. Special book-selling and book-publishing catalogs are characterized. While executing the marketing and advertising function, these directories were addressed primarily to foreign consumers and distributors (the so-called commissioners).One way to distribute music is to subscribe through libraries. A significant financial factor in the distribution of any printed matter was the price that depended primarily on the cost of each process associated with its publication. Keywords: music publications, bookstore, book-trading enterprise, advertising of publications, pricing.

Leisure-Time Music Activities from the Perspective of Musical Agency

2017 ◽  
Author(s):  
Sidsel Karlsen
Keyword(s):  
Music Education ◽  
Leisure Time ◽  
Learning Trajectories ◽  
Binary Opposition ◽  
Sociology Of Music ◽  
Music Production ◽  
Music Consumption ◽  
Musical Taste ◽  
Specific Concept ◽  
Music Activities

This chapter aims to understand the phenomenon of leisure-time music activities from the perspective of musical agency. It explores how individuals’ and groups’ recreational practices involving music can be seen as a means for expanding their capacities for acting in the lived-in world. The exploration proceeds through theoretical and experiential accounts. It first draws on literature from general sociology, music sociology, and the sociology of music education in order to elaborate on the broader notion of agency, as well as the more field-specific concept of musical agency. It then explores various music-related agency modes through narrating the author’s own experiences of participating in, leading, and observing leisure-time music activities. The chapter aims to dissolve the binary opposition between recreational music production and music consumption. It argues that the two poles instead can be understood as inseparably intertwined venues for the constitution of agency, musical taste and music-related learning trajectories.

Developing 21st-Century Musicianship: Tablet-based Music Production in the General Music Classroom

2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren
Keyword(s):  
Music Education ◽  
Learning Environments ◽  
21St Century ◽  
Contemporary Music ◽  
Music Instruction ◽  
Technology Skills ◽  
General Music ◽  
Music Classroom ◽  
Music Production ◽  
Essential Skills

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

Porous media as a canvas for hydro-bio-geo-chemical processes: Facing the challenges

2021 ◽  
Author(s):  
Xavier Sanchez-Vila
Keyword(s):  
Porous Media ◽  
Reactive Transport ◽  
Field Work ◽  
Open Science ◽  
Transport Processes ◽  
Aquifer Recharge ◽  
Music Production ◽  
Emerging Compounds ◽  
Technological Developments ◽  
Large Research

<p>The more we study flow and transport processes in porous media, the larger the number of questions that arise. Heterogeneity, uncertainty, multidisciplinarity, and interdisciplinarity are key words that make our live as researchers miserable… and interesting. There are many ways of facing complexity; this is equivalent as deciding what colors and textures to consider when being placed in front of a fresh canvas, or what are the sounds to include and combine in a music production. You can try to get as much as you can from one discipline, using very sophisticated state-of-the-art models. On the other hand, you can choose to bring to any given problem a number of disciplines, maybe having to sacrifice deepness in exchange of the better good of yet still sophisticated multifaceted solutions. There are quite a number of examples of the latter approach. In this talk, I will present a few of those, eventually concentrating in managed aquifer recharge (MAR) practices. This technology involves water resources from a myriad of perspectives, covering from climate change to legislation, from social awareness to reactive transport, from toxicological issues to biofilm formation, from circular economy to emerging compounds, from research to pure technological developments, and more. All of these elements deserve our attention as researchers, and we cannot pretend to master all of them. Integration, development of large research groups, open science are words that will appear in this talk. So does mathematics, and physics, and geochemistry, and organic chemistry, and biology. In any given hydrogeological problem you might need to combine equations, statistics, experiments, field work, and modeling; expect all of them in this talk. As groundwater complexity keeps amazing and mesmerizing me, do not expect solutions being provided, just anticipate more and more challenging research questions being asked.</p>

Pop vs rock: A comparison study of managing sessions in the recording studio and the influences of genre

2021 ◽  
Vol 13 (2-3) ◽  
pp. 141-161 ◽  
Author(s):  
Phil Harding ◽  
M. Nyssim Lefford
Keyword(s):  
Organizational Strategies ◽  
Structured Interviews ◽  
Music Production ◽  
Session Management ◽  
Recording Session ◽  
Management Techniques ◽  
Management Approaches ◽  
Education Support ◽  
Insight Into ◽  
Audio Media

This study examined the recording session management approaches of two music producers, Phil Harding and Greg Haver, to ascertain if and how their different approaches impact the outcomes of music production projects. Semi-structured interviews were conducted with each producer to gain insight into their approaches generally, and also, as a point of comparison, their work on the educational Gus Dudgeon Foundation/Joint Audio Media Education Support (GDF/JAMES) summer recording sessions specifically. Thematic analyses of the interviews revealed that the producers’ respective approaches are influenced by the genres in which each predominantly works. Harding, a pop producer, is very systematic. Haver, who is better known for his work in rock, uses an organic approach. Consequently, there were some clear differences in their decision making and organizational strategies at the GDF/JAMES sessions. The producers used different criteria to choose a project/artist. Each used distinctive approaches in pre-production (i.e. work on song arrangements and other technical musical decisions), production (recording) and mixing. Still, both produced pop recordings that largely conform to pop norms. Both recordings have similar pop arrangements and meet commercial standards. Findings provide new understanding of session management techniques that can benefit both music production education and practitioners.

Using DAWs as modelling tools for learning design sound-based applications in education

2021 ◽  
Vol 13 (2-3) ◽  
pp. 305-322 ◽  
Author(s):  
Hussein Boon
Keyword(s):  
Experiential Learning ◽  
Teaching And Learning ◽  
Innovative Approach ◽  
Learning Approach ◽  
Learning Design ◽  
Educational Settings ◽  
Music Production ◽  
Learning Challenges ◽  
Interesting Solution

This article discusses a proposed design and sound tool teaching and learning approach, with interesting solution-based challenges not immediately associated with traditional DAW instruction. By stepping outside of the usual boundaries of DAW use, music production teaching is presented with a number of novel learning challenges. There is potential for DAWs, especially in educational settings, to be used to enhance the discipline, encourage experimentation and stimulate design-based ideas that promote DAW use beyond the mixing and engineering type contexts. By shifting DAWs into areas of sound-based music, as proposed by Landy, this innovative approach, facilitates deeper, experiential learning where sound is treated as the basic musical unit, therefore allowing for a potentially greater range of designed outputs.

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