Demonstrating sound with music production software

2010 ◽  
Vol 45 (3) ◽  
pp. 243-248 ◽  
Author(s):  
David Keeports
Electronics ◽  
2021 ◽  
Vol 10 (18) ◽  
pp. 2276
Author(s):  
Jia-Lien Hsu ◽  
Shuh-Jiun Chang

With the prevalence of online video-sharing platforms increasing in recent years, many people have started to create their own videos and upload them onto the Internet. In filmmaking, background music is also one of the major elements besides the footage. With matching background music, a video can not only convey information, but also immerse the viewers in the setting of a story. There is often not only one piece of background music, but several, which is why audio editing and music production software are required. However, music editing is a professional expertise, and it can be hard for amateur creators to compose ideal pieces for the video. At the same time, there are some online audio libraries and music archives for sharing audio/music samples. For beginners, one possible way to compose background music for a video is “arranging and integrating samples”, rather than making music from scratch. As a result, this leads to a problem. There might be some gaps between samples, in which we have to generate transitions to fill the gaps. In our research, we build a transformer-based model for generating a music transition to bridge two prepared music clips. We design and perform experiments to demonstrate that our results are promising. The results are also analysed by using a questionnaire to reveal a positive response from listeners, supporting that our generated transitions conform to background music.


Author(s):  
Joseph Michael Pignato

The lesson described in this chapter was originally designed for middle and high school students as part of their general music curriculum. The goal of the lesson is to create spaces for students that resemble those used by musicians outside of traditional school music contexts to simulate practical music industry experience (e.g., those environments one might find in a recording studio, in a project studio, or at a DIY music venue). This lesson encourages discovery-based learning, using common music production software, hardware, and instruments. The materials, context, and instructions will illustrate how teachers can create environments in which their students will engage, explore, discover, create, and collaborate.


Author(s):  
Olga Osadtsia

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.


Author(s):  
Sidsel Karlsen

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.


2021 ◽  
pp. 104837132110344
Author(s):  
Jason Fick ◽  
Chris Bulgren

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.


2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari

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.


2021 ◽  
Author(s):  
Xavier Sanchez-Vila

<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>


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