Ableton Overture (Intermediate)

2020 ◽  
pp. 119-128
Author(s):  
Alison Armstrong
Keyword(s):  
Music Technology ◽  
Compositional Techniques ◽  
Sequence Inversion

In this music technology-meets-classical composition activity, students will learn how to combine tried and tested compositional techniques (sequence, inversion, augmentation, diminution, and imitation) with many possibilities in Ableton Live’s session view. This composition task was designed for students ages 12 to 16 who are new to composing. The aims of the activity include: 1) inputting melodic and rhythmic information into a DAW and exploring composition devices; 2) reviewing melodic and rhythmic compositional devices, exploring simple accompaniment patterns, and combining a theme with an accompaniment pattern; 3) exploring sounds, octave ranges, and tempi in Ableton Live; 4) exploring combinations of themes with other students through sharing MIDI loops, making an arrangement, and justifying choices; and 5) presenting an arrangement to a fictional client.

Preschool children’s play and alignments in a bracketed framing of a music-technological breakdown

2018 ◽  
Vol 2 (1) ◽  
pp. 120-142
Author(s):  
Pernilla Lagerlöf ◽  
Louise Peterson
Keyword(s):  
Social Interaction ◽  
Everyday Life ◽  
Detailed Analysis ◽  
Music Technology ◽  
Popular Media ◽  
Media Culture ◽  
Children's Play ◽  
Experimental Activity ◽  
Children’S Play

Music technologies are becoming important in children's play in everyday life, but research on children's communication and interaction in such activities is still scarce. This study examines three children's social interaction in an 'experimental' activity in preschool, when the music technology breaks down. Detailed analysis is carried out by using a Goffmanian approach. The findings illustrate the children's interpretive framings of the adult's introduction and their orientation to the technological material in order to perform different alignments and how they change footings. The children's social interaction is organised according to the playful framing of the bracketed activity. This suggests the significance to pay attention to children's definitions of situations and to consider children's experiences of participation in popular media culture.

Max/MSP/Jitter for Music

2011 ◽  
Author(s):  
V. J Manzo
Keyword(s):  
Video Game ◽  
Music Technology ◽  
Camera Tracking ◽  
Instructional Tools ◽  
Music Therapists ◽  
Interactive Music ◽  
Pitch Tracking ◽  
Special Value ◽  
And Performance ◽  
Private Studio

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. This book will be of special value for everyone who teaches music at any level, from classroom instructors to ensemble directors to private studio instructors. Whether you want to create simple exercises for beginning performers or more complex programs for aspiring composers, this book will show you how to write customized software that can complement and even inspire your instructional objectives. No specialist foreknowledge is required to use this book to enliven your experience with music technology. Even musicians with no prior programming skills can learn to supplement their lessons with interactive instructional tools, to develop adaptive instruments to aid in composition and performance activities, and to create measurement tools with which to conduct research. This book allows you to: -Learn how to design meaningful projects for composition, performance, music therapy, instruction, and research -Understand powerful software through this accessible introduction, written for beginners -Follow along through step-by-step tutorials -Grasp the principles by downloading the extensive software examples from the companion website This book is ideal for: -Music educators at all levels looking to integrate software in instruction -Musicians interested in how software can improve their practice and performance -Music composers with an interest in designing interactive music -Music therapists looking to tailor programs to the needs of specific groups or individuals And all who are interested in music technology. Visit the companion website at www.oup.com/us/maxmspjitter

CSim 2

2021 ◽  
Vol 43 (1) ◽  
pp. 1-46
Author(s):  
David Sanan ◽  
Yongwang Zhao ◽  
Shang-Wei Lin ◽  
Liu Yang
Keyword(s):  
Programming Languages ◽  
Concurrent Systems ◽  
Theorem Prover ◽  
Compositional Techniques ◽  
Machine Code ◽  
Top Down ◽  
Hol Theorem Prover ◽  
High Level ◽  
High Degree

To make feasible and scalable the verification of large and complex concurrent systems, it is necessary the use of compositional techniques even at the highest abstraction layers. When focusing on the lowest software abstraction layers, such as the implementation or the machine code, the high level of detail of those layers makes the direct verification of properties very difficult and expensive. It is therefore essential to use techniques allowing to simplify the verification on these layers. One technique to tackle this challenge is top-down verification where by means of simulation properties verified on top layers (representing abstract specifications of a system) are propagated down to the lowest layers (that are an implementation of the top layers). There is no need to say that simulation of concurrent systems implies a greater level of complexity, and having compositional techniques to check simulation between layers is also desirable when seeking for both feasibility and scalability of the refinement verification. In this article, we present CSim 2 a (compositional) rely-guarantee-based framework for the top-down verification of complex concurrent systems in the Isabelle/HOL theorem prover. CSim 2 uses CSimpl, a language with a high degree of expressiveness designed for the specification of concurrent programs. Thanks to its expressibility, CSimpl is able to model many of the features found in real world programming languages like exceptions, assertions, and procedures. CSim 2 provides a framework for the verification of rely-guarantee properties to compositionally reason on CSimpl specifications. Focusing on top-down verification, CSim 2 provides a simulation-based framework for the preservation of CSimpl rely-guarantee properties from specifications to implementations. By using the simulation framework, properties proven on the top layers (abstract specifications) are compositionally propagated down to the lowest layers (source or machine code) in each concurrent component of the system. Finally, we show the usability of CSim 2 by running a case study over two CSimpl specifications of an Arinc-653 communication service. In this case study, we prove a complex property on a specification, and we use CSim 2 to preserve the property on lower abstraction layers.

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

scholarly journals Velody 2—Resilient High-Capacity MIDI Steganography for Organ and Harpsichord Music

2020 ◽  
Vol 11 (1) ◽  
pp. 39
Author(s):  
Eric Järpe ◽  
Mattias Weckstén
Keyword(s):  
Mean Absolute Error ◽  
Signal To Noise Ratio ◽  
High Capacity ◽  
Absolute Error ◽  
Music Technology ◽  
Alternative Methods ◽  
File Size ◽  
User Friendly ◽  
Different Levels ◽  
Better Than

A new method for musical steganography for the MIDI format is presented. The MIDI standard is a user-friendly music technology protocol that is frequently deployed by composers of different levels of ambition. There is to the author’s knowledge no fully implemented and rigorously specified, publicly available method for MIDI steganography. The goal of this study, however, is to investigate how a novel MIDI steganography algorithm can be implemented by manipulation of the velocity attribute subject to restrictions of capacity and security. Many of today’s MIDI steganography methods—less rigorously described in the literature—fail to be resilient to steganalysis. Traces (such as artefacts in the MIDI code which would not occur by the mere generation of MIDI music: MIDI file size inflation, radical changes in mean absolute error or peak signal-to-noise ratio of certain kinds of MIDI events or even audible effects in the stego MIDI file) that could catch the eye of a scrutinizing steganalyst are side-effects of many current methods described in the literature. This steganalysis resilience is an imperative property of the steganography method. However, by restricting the carrier MIDI files to classical organ and harpsichord pieces, the problem of velocities following the mood of the music can be avoided. The proposed method, called Velody 2, is found to be on par with or better than the cutting edge alternative methods regarding capacity and inflation while still possessing a better resilience against steganalysis. An audibility test was conducted to check that there are no signs of audible traces in the stego MIDI files.

Developing identities using music technology in therapeutic settings

2012 ◽  
Vol 42 (2) ◽  
pp. 177-189 ◽  
Author(s):  
Karen Burland ◽  
Wendy Magee
Keyword(s):  
Music Technology ◽  
Therapeutic Settings

A Musical Technography of John Bischoff

2004 ◽  
Vol 14 ◽  
pp. 75-79
Author(s):  
Douglas Kahn
Keyword(s):  
San Francisco ◽  
Early Development ◽  
Computer Music ◽  
Turning Point ◽  
San Francisco Bay Area ◽  
Experimental Music ◽  
Music Technology ◽  
Electronic Components ◽  
Bay Area ◽  
The Impact

John Bischoff has been part of the formation and growth of electronic and computer music in the San Francisco Bay Area for over three decades. In an interview with the author, he describes his early development as a student of experimental music technology, including the impact of hearing and assisting in the work of David Tudor. Bischoff, like Tudor, explored the unpredictable potentials within electronic components, and he brought this curiosity to bear when he began working on one of the first available micro-computers. He was a key individual at the historical turning point when computer music escaped its institutional restric-tions and began becoming widespread.

The Relationship of Music-Sound, Technology and Internet

2020 ◽  
Vol 1 (1) ◽  
pp. 160-169
Author(s):  
Clemens Felix Setiyawan ◽  
Dyah Murwaningrum
Keyword(s):  
Qualitative Research ◽  
Research Method ◽  
Music Technology ◽  
The Internet ◽  
Young Generation ◽  
Participant Observer ◽  
Relationship Of ◽  
The Relationship ◽  
Sound Technology

Nowadays, music creation, collaboration, and publication are easier because of technology. Most young generations have sent music data, made, sold, bought music files on the internet. This changed music processes certainly resulted in different outcomes. Listening and creating music by new means, can change music itself. Technology has simplified tools, and the internet has simplified the distance. But new problems and questions have been found. How were the internet and technology influenced the quality of music, music creator, music appreciator and the form of music. The aims of this research to determine the relationship between music, technology, and the internet, through behavior of the young generation. This study was qualitative research that used observations and unstructured interviews. In subsequent observations, participant-observer was chosen as an advanced research method to better understand existing phenomena. The result of observations and interviews were interpreted, then presented descriptively. This research used theory by Don Ihde that technology has three characteristics (1) material (2) used (3)relationship of human and tools. The result of this research is internet influenced music quality and human appreciation. Technology changed the way humans create music.

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