The Tracker Producer and Top-Liner Collaborative Music Production Project (Advanced)

2020 ◽  
pp. 275-282
Author(s):  
Brendan Anthony
Keyword(s):  
Popular Music ◽  
Student Learning ◽  
Music Industry ◽  
Online Communication ◽  
Student Interaction ◽  
Modern Music ◽  
Face To Face ◽  
Assessment Item ◽  
Music Production ◽  
Written Assessment

This project engages students with the collaborative realities of modern popular music production via an amalgamation of the music programmer, producer, and songwriter roles. Students engage in face-to-face and remote/online communication, composition, and production to manifest an original popular music output that is generated primarily within the DAW. Student learning is encapsulated within the autonomous interaction and workflows associated with the task, and reflected upon within a journal that informs a written assessment item. This activity is designed as a profession-based engagement that bridges student interaction to the realities of the modern music industry. This is intended to promote notions of professional ability within students upon completion.

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.

A tutor in your back pocket: reflections on the use of iPods and podcasting in an undergraduate popular music programme

2009 ◽  
Vol 26 (1) ◽  
pp. 85-97 ◽  
Author(s):  
Steve Cooper ◽  
Crispin Dale ◽  
Steve Spencer
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Student Learning ◽  
Effective Means ◽  
Student Interaction ◽  
Curriculum Materials ◽  
Learning Engagement ◽  
Degree Programme ◽  
Traditional Lectures ◽  
The University

This article reports upon a research project undertaken at the University of Wolverhampton where iPods and podcasting were used as a delivery and assessment mechanism within an undergraduate Popular Music degree programme. A sample drawn from students studying the programme was interviewed to explore their engagement with the technology and the curriculum materials produced. Results found that although not a replacement for traditional lectures, iPods and podcasting are an effective means for supporting student learning. Benefits included motivating learners, enabling student interaction, offering time-shifted learning engagement and personalisation of learning. This article evaluates the pedagogical adoption of iPods and podcasting within a music education context and makes suggestions for future areas of research.

scholarly journals The regional North Indian popular music industry in 2014: from cassette culture to cyberculture

Popular Music ◽  
2014 ◽  
Vol 33 (3) ◽  
pp. 389-412 ◽  
Author(s):  
Peter Manuel
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
North India ◽  
Commercial Music ◽  
Music Production ◽  
Music Scenes ◽  
Current State ◽  
Technological Developments ◽  
Regional Music ◽  
Popular Music Industry

AbstractThis article explores the current state of the regional vernacular popular music industry in North India, assessing the changes that have occurred since around 2000 with the advent of digital technologies, including DVD format, and especially the Internet, cellphones and ‘pen-drives’. It provides a cursory overview of the regional music scene as a whole, and then focuses, as a case study, on a particular genre, namely the languriya songs of the Braj region, south of Delhi. It discusses how commercial music production is adapting, or failing to adapt, to recent technological developments, and it notes the vigorous and persistent flowering of regional music scenes such as that in the Braj region.

Social anxiety is associated with similar emotional impairments during digital and face-to-face communication in daily life

2020 ◽  
Author(s):  
James Doorley ◽  
Kristina Volgenau ◽  
Kerry Kelso ◽  
Todd Barrett Kashdan ◽  
Alexander J. Shackman
Keyword(s):  
Social Anxiety ◽  
Digital Communication ◽  
Instant Messaging ◽  
Online Communication ◽  
Medium Study ◽  
Reconstruction Method ◽  
Communication Behaviors ◽  
Face To Face ◽  
Emotional Impairments ◽  
Emotional Safety

Background:Retrospective studies have found that people with elevated social anxiety (SA) show a preference for digital/online communication, which may be due to perceptions of enhanced emotional safety. Whether these preferences for/benefits of digital compared to face-to-face communication manifest in the real world has yet to be explored. Methods: We recruited samples of college students (N = 125) and community adults (N = 303) with varying levels of SA, sampled their emotions during digital and face-to-face communication using ecological momentary assessment (EMA) (Study 1) and a day reconstruction method (DRM) (Study 2), and preregistered our hypotheses (https://osf.io/e4y7x/). Results: Results from both studies showed that SA did not predict the likelihood of engaging in digital compared to face-to-face communication, and SA was associated with less positive and more negative emotions regardless of communication medium. Study 2 also showed that whether digital communication was synchronous (e.g., in real time via phone/video chat) or asynchronous (e.g., texting/instant messaging) did not impact the association between SA and emotions. Limitations: EMA and DRM methods, despite their many advantages, may be suboptimal for assessing the occurrence of digital communication behaviors relative to more objective methods (e.g., passively collecting smartphone communication data). Using event-contingent responding may have also yielded more reports of digital communication, thus strengthening our power to detect small, cross-level interaction effects. Conclusions:These results challenge beliefs that digital/online communication provides a source of emotional safety for people with elevated SA and suggests a greater need to address SA-related emotional impairments across digital communication platforms.

The Jewish Population of Tennessee

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Jewish Population ◽  
Music Industry ◽  
Major Power ◽  
Sheet Music ◽  
Early Music ◽  
Music Publishers ◽  
Popular Music Industry

At the beginning of the twentieth century, the first way that the imprimatur of Broadway reached consumers was through the immense distribution of colorful and tuneful sheet music. Early music publishers learned quickly that associating a song with a Broadway show such as the Ziegfeld Follies, Broadway personalities such as Al Jolson and Fanny Brice, or Broadway composers such as Victor Herbert gave that tune a special identity that increased its popularity. In addition, music publishers, such as Max Dreyfus, were major power brokers in the popular music industry, yielding the ability to make a song into a hit, and continued to be influential through the first half of the twentieth century.

Tingkat Pemahaman Siswa dalam Pembelajaran Daring dan Tatap Muka Langsung dalam Masa Pandemi Covid-19 Terhadap Bimbingan TIK Menggunakan Metode Backpropagation

2021 ◽  
pp. 95-101
Author(s):  
S Salmiati ◽  
Yuhandri Yunus ◽  
S Sumijan
Keyword(s):  
Student Learning ◽  
Learning Outcomes ◽  
Predictive Accuracy ◽  
Cognitive Learning ◽  
Student Learning Outcomes ◽  
Face To Face ◽  
Backpropagation Method ◽  
Face To Face Learning ◽  
Level Of Understanding ◽  
The Right

The Covid-19 pandemic has a major impact on the world of education. Government policies to implement Distance Learning (PJJ) have an impact on learning in schools. Increasing ICT competence is needed to support the smooth running of PJJ. One of them is through ICT guidance activities during the Covid-19 Pandemic. SMP Negeri 1 Lengayang carried out online and face-to-face ICT guidance activities during the Covid-19 Pandemic. However, student learning outcomes in online and face-to-face learning have not shown maximum results. Various obstacles arise that affect student learning outcomes. Teachers have difficulty measuring the level of students' understanding of ICT guidance. Predicting the level of understanding of students is important as a measure of learning success during the Covid-19 Pandemic. This study aims to predict the level of understanding of students in online and face-to-face learning during the Covid-19 period, so that it can also help schools to take the right policies to improve the quality of learning for the future. This study uses the Backpropagation method of Artificial Neural Network (ANN). ANN is a part of artificial intelligence that can be used to predict. The data that is managed is a recap of the value of student cognitive learning outcomes during ICT guidance in online and face-to-face learning during the Covid-19 Pandemic. The results of calculations using the Backpropagation method with the Matlab application produce a percentage value for the level of student understanding, so that the accuracy value in prediction is obtained. With the results of testing the predictive accuracy of the level of understanding online and face-to-face with the 3-10-1 pattern, the best accuracy value is 95%. The prediction results can measure the level of students' understanding of learning during the Covid 19 Pandemic towards ICT guidance.

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