OVERTON-RESONANT SINGING BASIS OF COMPOSITOR LANGUAGE (OVERTONE-RESONANT BASIS OF COMPOSITOR LANGUAGE)

The article substantiates the embodiment of the traditional overtone intonational song beginning in the composer’s work. The application of the main acoustic features of an authentic timbre is described, such as compression, the presence of «specific resonances», reliance on the vocal position and inharmonic overtones. The main composer’s task is to create a piece of music that would imitate or reproduce the resonance characteristic of the folk singing tradition — the overtone. The research is based on the method of sound-acoustic measurement of an audio signal. The work was performed using the Reaper V4,581 audio editor software (Digital Audio Workstation) and a spectrograph built into the Reaper brand iZotop Ozon5 Advansed. This model of the spectrograph allows you to see the spectrogram of the investigated audio material in 3D format and color image, which more accurately reflects the measurements of the vibration frequency of the sound wave, and is also equipped with a broadband FFT analyzer. The scientific novelty of the research lies in the consideration of composer folklorism from the point of view of the timbre acoustic model of authentic singing, and the adaptation of expressive means is investigated not within the framework of the style and manner of the melodic presentation of the material of individual composers, but from the point of view of the timbre content of the folklore voice. The article shows how the influence of ethno-singing on composer’s creativity is revealed through the prism of authentic timbre and the given spectral examples.

Cognitive Processing in Digital Audio Workstation Composing

Music teachers have been thrust into a new world where digital learning is the new normal and use of technology has become more necessity than an added extra. While there are many new resources available, sometimes reexamining those more familiar can help repurpose them for digital learning. This article unearths the cognitive processes that occur when students interact with digital audio workstations (GarageBand and Soundtrap) both in classrooms and through online learning. The contents explicitly identify how cognitive processes might manifest in students’ learning, engagement, and work produced from two such programs: GarageBand and Soundtrap. The intent is to provide music educators with a practical and accessible resource to help guide an electronic composing curriculum.

Pemanfaatan Logic Pro X dan E-Gamelan sebagai Alternatif Media Pembelajaran Praktik Karawitan Secara Daring

Masa darurat COVID-19 menuntut proses pembelajaran dilakukan secara daring. Hal ini menghambat proses pembelajaran praktik karawitan di SMP Negeri 2 Kretek, Bantul DIY. Oleh karena itu inovasi media pembelajaran cukup dibutuhkan seperti pemanfaatan Digital Audio Workstation (DAW) Logic Pro X dan aplikasi E-Gamelan. Tujuan penelitian ini adalah untuk mendeskripsikan penggunaan DAW Logic Pro dan E-Gamelan sebagai alternatif media pembelajaran praktik karawitan secara daring. Pengumpulan data ditempuh mulai dari observasi, wawancara, dan analisis dokumen yang berkaitan dengan permasalahan tersebut. Sumber data dalam penelitian ini adalah guru dan peserta didik di sekolah terkait. Teknik validasi pada penelitian ini menggunakan validasi triangulasi teknik. Hasil penelitian menunjukkan bahwa penggunaan media Logic Pro X dan E-Gamelan dalam proses pembelajaran praktik karawitan SMP cukup efektif membantu guru dalam mencapai tujuan pembelajaran. Lebih lanjut, sebagian besar para siswa memberikan respon positif terhadap proses pembelajaran yang dilaksanakan. The COVID-19 emergency period demands that the learning process be carried out online. This hinders the learning process of karawitan practice at SMP Negeri 2 Kretek, Bantul DIY. Therefore, learning media innovations are needed, such as Digital Audio Workstation (DAW), Logic Pro X and the E-Gamelan application. This study aims to describe the use of DAW Logic Pro and E-Gamelan as alternative media for learning karawitan practice online. Data collection was taken starting from observation, interviews, and analysis of documents related to these problems. Sources of data in this study were teachers and students in affiliated schools. The validation technique uses a triangulation validation technique. The study results indicate that using Logic Pro X and E-Gamelan media in the learning process of junior high school karawitan practice is quite effective in helping teachers achieve learning goals. Furthermore, most of the students gave a positive response to the learning process carried out.

Tech You Will Need for Your Program

This chapter presents an optimal equipment list for establishing a creative music technology lab. While preservice music teachers are taught how to purchase and maintain instruments, they are rarely given equivalent advice for music production tools. This chapter provides practical recommendations for purchasing and maintaining hardware, software, and furniture, including computers, digital audio workstation software, headphones, MIDI controllers, microphones, tables, podiums, display screens, and soundproofing. Suggestions are given for arrangement and design of the overall space as well as design of individual workstations. The chapter also includes suggestions for managing wear and tear on equipment, for maintenance and cleaning routines, and for sustainable budgeting. Finally, for situations where the optimal setup is not immediately attainable, the various items described here are ranked in terms of priority.

Electronic Music School

This book is a practical blueprint for teachers who want to begin teaching project-based music technology, production, and songwriting to secondary and college-age students. It aims to inspire teachers to expand beyond the usual ensemble offerings and to create a culture of unique creativity at their schools. The approach primarily draws upon the authors’ experiences developing and implementing the music technology program at Lebanon (Ohio) High School, one of the nation’s largest secondary-level programs, and courses at New York University and Montclair State University. While the lesson templates can be used with any hardware and software setup, the popular digital audio workstation Ableton Live is used for specific examples and screenshots.

Producing the self: Digitisation, music-making and subjectivity

This article demonstrates how the availability of music platforms, the guidance of online tutorials and user-friendly affordances of software interfaces have democratised the making of electronic music. Software users traverse new forms of technology as part of their social and cultural selves, the confluence of musical affiliation and specific social media platforms supporting the production and exploration of identity. Case studies of women and non-binary identifying music-makers highlight digitisation’s role in enabling creative agency. Music emerging through these processes evidences a stylistic fluidity that indicates its means of construction, using the sampling, pitch, and time-stretching capabilities of the digital audio workstation. Digitisation provides the inspiration of a world of music and the means and knowledge of how to make it, allowing musical, personal and collective subjectivities to be explored.

Musical Creativity, Mobile Technology, and Middle School

The chapter focuses on examining musical creativity in middle school general music by the use of digital technology, from the perspective of a middle school music teacher who is working with digital natives. It provides practical lesson plans concerning the use of digital audio workstation (DAW) apps and Chrome Music Lab apps to compose music, music notation apps for notating compositions, and ScratchJr for creating music tutorials. Tablets and hand-held devices are morphed into tools for adolescents to express their creative musicianship, leading to a transformation of a middle school general music class.