Music Making on YouTube

2017 ◽  
Author(s):  
Christopher Cayari
Keyword(s):  
Small Groups ◽  
Music Videos ◽  
The Internet ◽  
Time And Space ◽  
Music Making ◽  
Amateur Musicians ◽  
Musical Ensembles ◽  
Collaborative Music

People are making music at their leisure and publishing it online. YouTube has provided a space for musicians to publish multitrack music videos, join collective musical ensembles, and collaboratively perform with others. This chapter explores three trends of how musicians are creating music videos and forming virtual ensembles and music making communities: they are showing off their skills through music videos; they are creating videos to join large collective multitrack ensembles of hundreds or even thousands of others; and they are actively collaborating with small groups to create mediated performances. Collective and collaborative music making on the Internet are not only happening among grassroots amateur musicians, but also through educational and commercial institutions. Music making on the Internet allows for global interactions and collaboration, where people come together and enjoy music recreationally, unbound by time and space.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

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.

Sociocultural Implications of Wikipedia

2009 ◽  
pp. 1333-1338 ◽  
Author(s):  
Ramanjit Singh
Keyword(s):  
Open Source ◽  
Point Of View ◽  
Cultural Relativism ◽  
Communication Process ◽  
The Internet ◽  
Time And Space ◽  
Technological Infrastructure ◽  
Group Collaboration ◽  
Cultural Climate ◽  
Collaborative Efforts

Wikipedia is a free encyclopedia that operates worldwide on the Internet. Articles on Wikipedia are developed with close collaboration of volunteers and anyone can edit the content (Wikipedia, 2006e). Although there are many advantages of using Wikipedia as a group collaboration tool, there are important implications. First, Wikipedia community is diverse and intercultural differences can distort the communication process. Second, the neutral point of view (NPOV) policy can lead to disputes. Third, lack of supervision and open source policy can be another source of conflict. Forth, administration of articles can be complex due to differing cultural and political stand points (Smith & Kollock, 1999). Laslty, differences in time and space as well as low level of access to the Internet can significantly impede collaboration efforts at Wikipedia (Berry, 2006; Madon, 2000; Parayil, 2006; Sahay, Nicholson, & Krishna, 2003). Hence, the aim of this paper is to examine sociocultural implications of using Wikipedia as a group collaboration tool spanning multiple countries and how social and cultural climate, differences in time and space, as well as technological infrastructure of countries affect collaboration between individuals given the distinctive operational and administration policies at Wikipedia. It is believed that findings from this research will increase the awareness of the underlying cause of many disputes arising at Wikipedia. In addition, this research will lead to cultural relativism and provide neutral grounds for collaborative efforts at Wikipedia in the future.

Track 3

2018 ◽  
Author(s):  
Adam Patrick Bell
Keyword(s):  
Social Network ◽  
The Internet ◽  
Music Making

Tyler credits the Internet as both his principal music instructor (e.g., YouTube) and influence (e.g., Facebook). Living in cramped quarters, the twenty-seven-year-old has modularized his bedroom such that it allows him to eat, sleep, work, play, and make music in the same two-hundred-square-foot space. By concocting a social network of avatars, Tyler has mapped out a lifetime’s worth of music he will author under the guise of these different heteronyms (personas). Tyler’s music-making with Ableton Live emphasizes the importance of editing and timbre tinkering. He spends little time recording performances, but literally a decade perfecting them by cutting, pasting, looping, equalizing, pitch shifting, and rewriting after repeated listenings.

The New Forms of Mourning: Loss and Exhibition of the Death on the Internet

2016 ◽  
Vol 77 (3) ◽  
pp. 280-295 ◽  
Author(s):  
Julie Alev Dilmaç
Keyword(s):  
The Internet ◽  
Contemporary Society ◽  
Common Currency ◽  
Time And Space ◽  
Funeral Practices ◽  
The Dead ◽  
Modern Technologies ◽  
The Web

According to some specialists, ceremonial funeral practices are inclined to disappear, particularly as death is an object of repression in contemporary society. However, it seems that new forms of rituals are developing through modern technologies. Virtual tombs, memorial webpages, and the celebration of death anniversaries are now common currency on the Internet. Nonetheless, the overexposure favored by the Web seems to question traditional ways of “living out” one’s grief, subjecting the living and the dead to a redefinition of concepts of time and space, and entailing new forms of interaction.

Crowdsourcing the Corpus: Using Collective Intelligence as a Method for Composition

2011 ◽  
Vol 21 ◽  
pp. 25-28 ◽  
Author(s):  
David Plans Casal
Keyword(s):  
Public Participation ◽  
Spectral Decomposition ◽  
Collective Intelligence ◽  
Collaborative Practice ◽  
Public Access ◽  
Human Intelligence ◽  
Practical Application ◽  
Music Making ◽  
On Line ◽  
Collaborative Music

The author describes the practical application of crowdsourcing human intelligence as a form of collaborative music-making. Spectral decomposition of an original recording is used to derive components from original audio, and these are then offered as on-line tasks in which contributors are asked to record their own interpretations of each component. Components are then gathered in order to re-synthesize the original corpus, which is used to build an improvisation system. The author uses Bernard Stiegler's ecology of attention paradigm to situate crowdsourcing as an emerging form of public participation in music-making and Glenn Gould's ideas on performance and public access to position this participation as an act of composition. The work is offered as an illustration of the author's individual process as a composer for finding new notational pathways for collaborative practice.

Observations on the Interplay between Large and Small Analytic Groups

2011 ◽  
Vol 44 (4) ◽  
pp. 439-453 ◽  
Author(s):  
Ben Rippa ◽  
Eric Moss ◽  
Mishael Chirurg
Keyword(s):  
Small Groups ◽  
Similar Pattern ◽  
The Internet ◽  
Clear Pattern ◽  
Core Group ◽  
Large Group ◽  
Training Programmes ◽  
Large Groups ◽  
Live Group

The authors address unanswered questions about the attraction of the often stormy large group and the interplay between it and small groups. If the large group is a place that arouses many difficult feelings, why do people in conferences, workshops, training programmes and on the Internet continue to participate in them? The authors found that within Internet large groups there was a clear pattern of setting up a small, intimate core group. They found a similar pattern in two live, group workshops. The authors learned that large and small groups are intricately related, and that when participants have the chance, they choose to continue in an on-going, back-and-forth movement between each.

scholarly journals La performance en el vídeo, en la fotografía y en la telepresencia

Ñawi ◽  
2017 ◽  
Vol 1 (2) ◽  
pp. 18
Author(s):  
Patricia López Landabaso
Keyword(s):  
Communication Networks ◽  
Social Communication ◽  
New Technologies ◽  
The Internet ◽  
Redes Sociales ◽  
Time And Space ◽  
Communications Technologies ◽  
Nuevas Tecnologías ◽  
Video Performance

Revisión sobre las posibilidades de la Performance con la aparición en su momento de nuevas tecnologías, como la fotografía, el vídeo o las tecnologías de comunicación como Internet, ha hecho posible que una acción perdure más allá del momento de su realización, constituyendo un fondo documental, pero con la duda de si la reacción que provoca es diferente o no a la que provocó en aquel instante y, además, al cuestionamiento de la importancia tanto del tiempo como del espacio en la realización de la Performance. Lo incuestionable es que en el momento actual son muchas las performances que se realizan pensadas en exclusiva para la cámara y/o su exhibición en redes sociales de comunicación, dando lugar a la aparición de la video-performance, la foto-performance o la teleperformance. Review of the possibilities of Performance with the appearance, at the time, of new technologies such as photography, video and communications technologies like the Internet, has made it possible that an action will last beyond the time of its completion , constituting a documentary background. It also questions the importance of both time and space in the realization of the Performance. The unquestionable is that at present there are many performances there are many performances that are exclusively designed for the camera and / or the display in social communication networks, leading to the appearance of the video-performance , photo- performance or teleperformance .

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