Toward a Methodology for the Study of Digital Music Production

2016 ◽  
pp. 273-284
Author(s):  
Eliot Bates
Keyword(s):  
Digital Music ◽  
Music Production

Digital music and subculture: Sharing files, sharing styles (originally published in February 2004)

First Monday ◽  
2005 ◽  
Author(s):  
Sean Ebare
Keyword(s):  
Popular Music ◽  
Social Dynamics ◽  
Online Communication ◽  
Digital Music ◽  
Music Production ◽  
Popular Music Studies ◽  
Production And Consumption ◽  
Online Music ◽  
Invaluable Tool ◽  
Identity And Difference

Digital music and subculture: Sharing files, sharing styles by Sean Ebare In this paper I propose a new approach for the study of online music sharing communities, drawing from popular music studies and cyberethnography. I describe how issues familiar to popular music scholars — identity and difference, subculture and genre hybridity, and the political economy of technology and music production and consumption — find homologues in the dynamics of online communication, centering around issues of anonymity and trust, identity experimentation, and online communication as a form of "productive consumption." Subculture is viewed as an entry point into the analysis of online media sharing, in light of the user–driven, interactive experience of online culture. An understanding of the "user–driven" dynamics of music audience subcultures is an invaluable tool in not only forecasting the future of online music consumption patterns, but in understanding other online social dynamics as well.

Drop that Beat! Digital Sampling with Ableton Live in Higher Education (Intermediate)

2020 ◽  
pp. 25-38
Author(s):  
Jonathan Kladder
Keyword(s):  
Higher Education ◽  
Digital Music ◽  
Student Needs ◽  
Student Progress ◽  
Snare Drum ◽  
Music Production ◽  
Digital Sampling ◽  
Online Databases

The aim of this chapter is to get students comfortable with the basics of Ableton live. The lessons described in this chapter were designed for a combined undergraduate and graduate Digital Music Production course. Students engage with Ableton Live and a MIDI keyboard to create original beats and sample audio using online databases. Students identify, sample, edit, and manipulate a kick drum, snare drum, hi-hat, and additional percussive sounds using waveform mediums. These lessons use a project-based and teacher-facilitated approach, which allows for scaffolding, modification, and adaptation as needed. Each sequential step outlined can be time-modified based on student needs. This also allows for flexibility of student progress, questions, or challenges that may arise, and individual adaptations for learning.

scholarly journals Soundcloud Rap and Alien Creativity

2021 ◽  
Vol 33 (3) ◽  
pp. 125-144
Author(s):  
Matthew T. Phillips
Keyword(s):  
Popular Music ◽  
Aesthetic Experience ◽  
Digital Music ◽  
Music Production ◽  
Real Effects ◽  
Aesthetic Form ◽  
New Meanings

In this paper I argue that the SoundCloud rap movement of the 2010s signalled not only a crisis of the rap-image (the specific ways in which rap had been traditionally represented and produced), but also a moment of intense aesthetic creativity and experimentation. Following Luciana Parisi’s notion of alien thinking and Kodwo Eshun’s work on Afrofuturism, I see the SoundCloud rap movement as exhibiting a type of alien creativity, existing outside the human but having real effects upon the human aesthetic experience. Through techniques such as Auto-Tune, mumbling, repetition, ad-libs, triplets, rappers were able to create a radically new aesthetic form that pushed the limits of digital music production and listening. I present SoundCloud rap tracks as virtualities of aesthetic origination, with rappers and producers playing with the alien, the unknown, the incomputable and the incomprehensible, which are provided to them via cybernetic technologies. These virtualities become ways of bringing forth the alien in the form of new syntaxes, new meanings, new aesthetics and new modes of being, pushing the bounds of rap and popular music.

Using Digital Music Production as a Culture Catalyst

2021 ◽  
pp. 122-139
Author(s):  
Emery Kidd
Keyword(s):  
Academic Success ◽  
Digital Music ◽  
Digital Audio ◽  
Entrepreneurial Leadership ◽  
Academic Institutions ◽  
Educational Benefits ◽  
Music Production ◽  
Cultural Inclusion ◽  
Technological Advances ◽  
Marketing Tool

Digital music production is an invaluable marketing tool for entrepreneurs and academic institutions alike. Digital music production can universally cultivate academic success and foster entrepreneurial leadership. Using technological advances in inexpensive digital audio workstations, educators can produce educational content from student expression. Educators can encourage entrepreneurs by facilitating a creative culture within the academic environment. Entrepreneurs can promote a culture willing to support entrepreneurial pursuits by attracting target audiences to the entrepreneur's products' culture. The benefit of royalty payments from entrepreneurial endeavors solidifies an estate for the producer. Additionally, academic institutions have an opportunity to capitalize on the educational benefits of cultural inclusion associated with student self-expression while teaching skills that will benefit the student and institution alike.

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