scholarly journals The Process of Producing of the Repertoire New song Selection and Its Digital Music

2019 ◽  
Vol null (41) ◽  
pp. 133-160
Author(s):  
김칠두
Keyword(s):  
Digital Music

BRAIN RESPONSES TO DIGITAL MUSIC: AN FNIRS STUDY

2018 ◽  
Vol 2018 ◽  
pp. 693-695
Author(s):  
Eun-Ju Lee ◽  
◽  
Kyeong Cheon Cha ◽  
Minah Suh
Keyword(s):  
Digital Music ◽  
Brain Responses

Resale of Digital Music: Capitol Records v. Redigi

2012 ◽  
Author(s):  
Matthias Marcus Glatthaar
Keyword(s):  
Digital Music

Digital Musical Interactions: Performer–system relationships and their perception by spectators

2011 ◽  
Vol 16 (2) ◽  
pp. 166-175 ◽  
Author(s):  
Michael Gurevich ◽  
A. Cavan Fyans
Keyword(s):  
Musical Instruments ◽  
Digital Systems ◽  
Digital Music ◽  
Musical Interactions ◽  
Ecological View ◽  
The Relationship

This article adopts an ecological view of digital musical interactions, considering first the relationship between performers and digital systems, and then spectators’ perception of these interactions. We provide evidence that the relationships between performers and digital music systems are not necessarily instrumental in the same was as they are with acoustic systems, and nor should they always strive to be. Furthermore, we report results of a study indicating that spectators may not perceive such interactions in the same way as performances with acoustic musical instruments. We present implications for the design of digital musical interactions, suggesting that designers should embrace the reality that digital systems are malleable and dynamic, and may engage performers and spectators in different modalities, sometimes simultaneously.

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.

Stylistic Morphing: Notes on the Digitisation of Contemporary Music Culture

2005 ◽  
Vol 11 (4) ◽  
pp. 106-121 ◽  
Author(s):  
Barry Sandywell ◽  
David Beer
Keyword(s):  
Cultural Change ◽  
Contemporary Music ◽  
Digital Music ◽  
Music Culture ◽  
Final Word ◽  
Cultural Transformations ◽  
The Social ◽  
Wide Range ◽  
Cultural Implications ◽  
Definitive Statement

This article is a series of notes concerned with tracking the social and cultural implications of the digitisation of music. In this piece we explore a number of emerging questions and phenomena with the explicit intention of opening new sets of questions and creating opportunities for further reflections and more detailed empirical case studies. This article, therefore, is not intended as a final word or a definitive statement on the phenomenon of cultural morphing, but rather it represents an attempt to experiment, to develop, and to explore the field of hybridisation and popular cultural change. It is hoped that these exploratory notes will illuminate some of the cultural transformations resulting from the proliferation and appropriation of a wide range of digital music technologies.

Digitale Musikedition und die Wissenschaft der Populären Musik

2021 ◽  
Vol 71 (4) ◽  
pp. 379-393
Author(s):  
Rebecca Grotjahn ◽  
Joachim Iffland
Keyword(s):  
Western Music ◽  
Digital Music ◽  
Pop Music ◽  
Cultural Behavior ◽  
Historical Objects

The term pop-music already claims to be artificial, just like "classical" western music. In this context, the article deals with the potentials of digital music edition, focusing on the necessity of a pop-music philology. In paying attention particularly to non-textual aspects of music, this seems one of the most important potentials of digital music edition in this area. Therefore, the need of a pop-music philology is emphasized here. This may include the edition of audiovisual objects, objects of cultural behavior and historical objects. We examine this using the example of the cover-version phenomenon, and recommend at least addressing copyright aspects.

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