Can a natural singing voice be enhanced through digital processing? Implications of voice training and vocology in singers

Introduction. The traditional way of facilitating a good singing voice has been achieved through rigorous voice training. In the modern days, however, there are some aspects of the singing voice that can be enhanced through digital processing. Although in the past, the frequency or intensity manipulations had to be achieved through the various singing techniques of the singer, technology today allows the singing voice to be enhanced from the instruments within recording studios. In essence, the traditional voice pedagogy and the evolution of digital audio processing both strive to achieve a better quality of the singing voice, but with different methods. Nevertheless, the major aspects of how the singing voice can be manipulated are not communicated among the professionals in each field. Objective. This paper offers insights as to how the quality of the singing voice can be changed physiologically through the traditional ways of voice training, and also digitally through various instruments that are now available in recording studios. Reflection. The ways in which singers train their voice must be mediated with the audio technology that is available today. Although there are aspects in which the digital technology can aid the singer’s voice, there remain areas in which the singers must train their singing system in a physiological level to produce a better singing voice.

Recording studios as museums? Record producers’ perspectives on German rock studios and accounts of their heritage practice

Recording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: record producers and studio owners as the people in charge of popular music creation. Three German rock and metal producers expressed their opinion on the usefulness of studio museums and explained their own heritage practices. Their insights demystify the ‘magical aura’ associated with recording studios, picturing these spaces as places of pressure and anxiety. Hardly convinced of the technologically deterministic ‘magical contamination’ of technical equipment, the producers see little sense in studios as museums. For them, the released record is what counts. To stay in touch with the community and to keep the memory of their work alive, they prefer to use social media.

Audible City

This chapter follows the sounds of Dimapur through the lives of musicians and the nascent music industry. Dimapur has become a home for Naga musicians to establish music schools and recording studios and to hold events across many genres. Dimapur is also the subject of the city’s music. Musicians write and sing about the city, giving the urban landscape a presence in popular culture. The city also appears in music videos, circulated digitally through YouTube and other platforms, putting the city ‘on the map’ for the consumers of contemporary Naga music, whether in the frontier, in cities in other parts of India, or in diaspora. Through these networks, Dimapur is experienced as sound and image, some of which draw conspicuously on the past of militarism, though much eschews the past to project notions of a future, a capitalist future of wealth and conspicuous consumption played out in the urban landscape.

Using My Bible for a Roadmap

Musicians, ministers, evangelical churches, music promoters, recording studios, and radio made southwestern Ohio an epicenter for sacred bluegrass. Worship services, revivals, homecomings, church concerts, WPFB’s Hymns from the Hills and WYSO’s Rise When the Rooster Crows played sacred bluegrass music. The Brown’s Ferry Four and King’s Sacred Quartet recorded at King. Shannon Grayson, Flatt and Scruggs, Jim and Jesse, Reno and Smiley, Sonny Osborne, Red Allen, the Stanley Brothers, Moore and Napier, and J.D. Jarvis also recorded in Cincinnati. Lillimae Haney Whitaker headed the Dixie Gospel-Aires. The Boys from Indiana, Joe Isaacs, and Larry Sparks had gospel releases. Pastors Kash Amburgy, Norm Livingston, and Lawrence Bishop promoted gospel singing. The Southwestern Ohio Bluegrass Music Heritage Project lists thirty-one other regional gospel artists at swohiobluegrass.com.

COMPARISON OF CREATIVITY OF THE WORLD FAMOUS ARCHITECT AND SCENOGRAPHIST F. KIESLER AND SCENOGRAPHIST AND ARCHITECT E. LYSYK

The end of the XIX and XX centuries, among other things in architecture, design, scenography were marked by the unique work of two great artists - F. Kizler, born September 22, 1890 in Chernivtsi and E. Lysyk, born September 21, 1930 in the village. Cords near Brody. Their birth, life, creative heritage showed and proved that the era of the Great Artists of the universal type, who synthesized architects, painters, sculptors, decorators, the leader among whom was KF Schinkel, did not end there. Both Kizler and Lysyk showed that such creativity not only did not end, but thanks to their activity was reborn, developed and acquired their personal features. Starting his artistic career in theater with spiral, spatial, collapsible stages, "infinite" and "boundless" spherical theaters, F. Kizler designed and implemented a number of scenographic solutions for Karel Chapek's "Ruhr", "In the Garden in the Pasture" in M opera, New York, "No Way Out", "Soldier's Story", in which he used mechanical devices for scenographic solutions, elevators in the stage space, the idea of ​​"plasticization", fountains. Later, F. Kizler put forward the idea of ​​a theater-complex, which in addition to halls and stages, should be cinemas, television studios, radio stations, publishing houses, recording studios, exhibition spaces.

Sound Recordists, Workplaces, Technologies, and the Aesthetics of Punk

Punk discourse is heavily focused on DIY aesthetics and, where the production of punk is concerned, the recreation of liveness embodied in cheap, often quickly produced studio recordings. Additionally, punk recordings are often positioned as key to the establishment of global networks, and are at the nexus of the production and dissemination of punk ideologies, yet they are rarely examined musicologically. However, this tendency to define punk in its wider context of DIY cultural production not only results in a dissemination and reception-focused discourse, but also overlooks the realities of the technological, processual, and workplace means involved in some of the genre’s most recognizable texts. Strong connections exist between early punk of the late 1960s and 1970s and classical music-focused recordists, elite recording studios, and highly realized technological capacity.Building on previous work on the tech-processual construction of punk aesthetics, this chapter aims to shift the focus of punk production away from broader discussions surrounding the dissemination of ideology and toward the sites and personnel impacting the production of punk. The work of previously overlooked recordists, including Oliver DiCicco, Craig Leon, John Loder, Glenn Lockett, and Butch Vig, are of particular focus. This chapter shows how much now-canonized punk aspired to constructionist rock music production standards, and how the resulting sonic aesthetics of punk undermine the genre’s DIY ideology.