Global ETD Search

41	Underground in the Cloud : En kvalitativ studie om den digitala musikplattformen Soundcloud Kuylenstierna, Adam January 2011 (has links) Under 2000-talet har medie- och musikklimatet varit i omstöpning. Förutsättningar för att dela, distribuera och upptäcka musik har förändrats i grunden. Soundcloud, en digital musikplattform som startade sin verksamhet hösten 2008, står på många sätt i centrum för denna utveckling. Det övergripande syftet med föreliggande uppsats är att utifrån ett antal ämnesområden kopplade till teknik och musik, sociala funktioner och relationer, ett förändrat musiklandskap samt Soundclouds samarbete med Audible Magic tematiskt analysera och problematisera den digitala musikplattformen Soundcloud med utgångspunkt i kvalitativa intervjuer med artister/producenter/DJ:s verkandes inom den elektroniska scenen. Mer specifikt behandlas användarnas förhållning till upplevelsen av musik genom den särskilda teknologi och grafiska inramning som Soundcloud tillhandahåller samt de sociala funktioner som implementerats. Vidare problematiseras synen på Soundcloud som ett community, förhållandet mellan global och lokal tillhörighet samt hur artister respektive lyssnare förhåller sig till ett nytt medie- och musikklimat. Slutligen belyser uppsatsen Soundclouds nyligen initierade partnerskap med Audible Magic – ett företag som specialiserat sig på automatiserad identifiering av medieinnehåll. I tidigare forskning behandlas den så kallade modscenen samt den forskning som bedrivits kring det komplexa förhållandet mellan musik, teknologi och sociala praktiker. Det teoretiska ramverket är baserat på Chris Andersons ”Long Tail”-teori, med betoning på demokratiseringen av distributionsmedel respektive produktionsverktyg samt nya filter för urval och sammankoppling mellan utbud och efterfrågan. Vidare berörs Gerd Leonhards samtidsforskning om det nya medie- och musikklimat som står inför dörren. Studien har belyst Soundclouds distinkta grafiska gränssnitt och sociala funktioner och dess inverkan, i både positiv och negative bemärkelse, för hur musik upplevs. Studien visar att Soundcloud kan ses ett steg framåt i processen att göra delning av musik i digital tidsålder mer social, en utveckling som emellertid bromsas av faktum av att banden mellan användarna i många fall är allt för svaga, vilket bland annat beror på Soundclouds allt för kraftfulla filtrering- och urvalsmekanismer. En konsekvens av detta är att Soundcloud i sig ofta inte ses som ett community, utan blott som ett verktyg eller en länk mellan lokala noder. Denna slutsats stärks av faktum att samtliga informanter framhöll lokal tillhörighet som grundläggande. Musikaliska samarbeten via en digital musikplattform som Soundcloud menar man aldrig kommer att kunna ersätta det kreativa utbyte som sker fysisk mellan människor. Partnerskapet med Audible Magic är ännu i ett tidigt stadium. Studien visar att samarbete kan få både negativa och positiva följder. Det negativa består i att DJ-mixar kan komma att försvinna från Soundcloud. Det positiva i att en ökad upphovsrättslig kontroll kan fungera som ett incitament för att göra artister mer originella i sitt arbete Soundcloud MySpace digital distribution tematisk analys Long tail Musik 2.0 digital darwinism elektronisk scen DJ Audible Magic Media and communication studies Medie- och kommunikationsvetenskap
42	Pengarna som inte kommer fram : Den ekonomiska fördelningsproblematiken i klubbmusik Sverige 2015 Westling, Jonas January 2016 (has links) Denna uppsats problematiserar hur kollektiva förvaltningsorganisationer fördelar pengar insamlade från offentligt framförd klubbmusik samt undersöker hur etablerade dj’s och producenter ser på dagens system och tror sig påverkas av detta. Med djupintervjuer av fyra personer undersöker uppsatsen även hur dessa ser på rapportering av den spelade musiken, vilka problem som kan uppstå och om det finns tekniska möjligheter att underlätta för korrekt fördelning. Resultaten visar att intervjupersonerna skiljer sig åt i vilken typ av karriär de har och därmed hur man förhåller sig till dagens system. Ingen ställde sig dock positiv till att rapportera in spellistor med vad de spelat som dj’s, man lyfte även fram problemet med att ersätta musik som spelas men ännu inte släppts officiellt. Det framkom också att vi idag har tekniska möjligheter att övervaka vad som spelas genom användandet av akustiska fingeravtryck. Jag diskuterade att det är först när ett sådant system är på plats som vi kan se hur mycket fel dagens pengar fördelas. Dj Producent Klubb Elektronisk Dans Musik House Techno Underground STIM SAMI IFPI Ekonomi Pengar Fördelning Förvaltning Fingeravtryck Media and Communication Technology Medieteknik
43	Documenting the Use of Appearances Among the DJ and Nightclub Patrons Conner, Christopher Thomas 03 May 2010 (has links) Indiana University-Purdue University Indianapolis (IUPUI) / This is a photo-documentary study of two themes found within the literature on fabulous appearances: the gay nightclub patron and the club DJ. This study used a large Midwestern gay nightclub as the field setting. Fabulousness involves the way patrons costume themselves in order to communicate status within the setting. This study revealed that participants in the setting utilize three different types of self-presentation. These types embody desirable characteristics and ideas of attractiveness that revolve around power, establishing a normalized “gay” identity, and using surreal based characteristics to achieve their goal of being noticed. The DJs served as informal organizers through their appearances and performances. Analysis of the DJ role found that DJs provide visual cues for other participants in the setting on how to act, dance, dress, and behave. This study is the first in depth examination of the role of the DJ and the communicative processes between the DJ and dancers in gay nightclubs. dance music GLBT gay rave nightclub DJ Social status Homosexuality -- Middle West Homosexuality and dance Disc jockeys -- Middle West Gay clubs -- Middle West Nightclubs -- Middle West Dance music
44	Análise de um painel de biomarcadores urinários para identificar e prever recidivas de carcinoma urotelial superficial de bexiga / Analysis of panel urinary biomarkers to identify and predict recurrence of superficial bladder urothelial carcinoma Srougi, Victor 18 January 2019 (has links) Introdução: O seguimento de pacientes com câncer de bexiga superficial apresenta embargos financeiros e psicológicos ao paciente, devido à realização frequente de exames invasivos. Com fim de substituir ou diminuir os exames invasivos, busca-se biomarcadores urinários acurados, que permitam diagnosticar a recidiva tumoral e estratificar pacientes com maior risco de recidiva futura. O objetivo deste estudo é avaliar se expressão na urina de PAI-1, DJ-1, ApoA-1, MMP-9 e IL-8 permite identificar e antecipar a recidiva de câncer de bexiga. Método: A expressão da PAI-1, DJ-1, ApoA-1, MMP-9 e IL-8 foi mensurada por ELISA na urina de 152 pacientes tratados previamente de carcinoma urotelial superficial de bexiga e em seguimento. Os níveis das proteínas foram comparados entre pacientes com e sem recidiva de câncer de bexiga (1) no momento da coleta de urina e (2) durante o seguimento. A ocorrência de recidiva tumoral foi confirmada por análise histopatológica da biópsia de lesões suspeitas, investigadas quando havia alterações na cistoscopia, ultrassom ou citologia oncótica. Pacientes com recidiva diagnosticada no momento da coleta de urina foram excluídos da análise para avaliar o papel antecipatório das cinco proteínas. Foi avaliado se o uso prévio de BCG intra-vesical exercia influência no nível das cinco proteínas estudadas. Resultados: Entre os pacientes avaliados, 16 (10,5%) apresentaram recidiva de carcinoma urotelial no momento da coleta de urina e 21 (15,4%) apresentaram recidiva de carcinoma urotelial durante o seguimento. O seguimento mediano foi de 47 meses (interquartis de 39 e 50 meses). Um painel para o diagnóstico de recidiva tumoral incluindo três biomarcadores (ApoA-1, MMP-9 e IL-8) apresentou razão de risco de 12,9 (IC 95% =3,5-47,4) e um painel para prever pacientes que desenvolverão recidiva durante o seguimento incluindo dois biomarcadores (PAI-1 e IL-8) apresentou razão de risco de 4,1 (IC 95% =1,4-11,4). Os resultados dos painéis não foram influenciados pelo uso prévio de BCG intra-vesical. Conclusão: Os painéis apresentados permitem identificar pacientes com recidiva de carcinoma urotelial de bexiga e prever quais pacientes terão maior risco de desenvolver recidiva no futuro. O uso prévio de BCG intra-vesical não alterou a expressão dos biomarcadores / Purpose: To evaluate if the urinary levels of PAI-1, DJ-1, ApoA-1, MMP-9 and IL-8 can identify and predict tumor recurrence in patients on follow-up of superficial bladder cancer. Methods: We prospectively analyzed the urine of 152 patients previously treated of superficial bladder cancer on follow-up regimen. Five biomarkers (PAI-1, DJ-1, ApoA-1, MMP-9 and IL-8) were assessed by ELISA and compared among patients with and without bladder cancer recurrence (1) in the moment of urine collection and (2) during follow-up. Tumor recurrence was evaluated with cystoscopy, ultrasound and urine oncotic cytology and confirmed by pathological analysis. Patients with recurrence at urine collection were excluded from prediction analysis. A correlation between the level of the biomarkers and previous use of intravesical BCG was investigated. Results: Median follow-up was 47 months (IQR =39-50 months). Among patients included, 16 (10,5%; N =152) and 21 (15,4%; N =136) had bladder cancer recurrence diagnosed in the moment of urine collection and during follow-up, respectively. The panel to diagnose recurrence including 3 biomarkers (ApoA-1, MMP-9 and IL-8) presented OR =12,9 (CI =3,5-47,4), while the panel to predict patients who will have a recurrence during follow-up including 2 biomarkers (PAI-1 and IL-8) presented OR =4,1 (CI =1,4- 11,4). Previous use of intra-vesical BCG didn\'t influence urine biomarkers expression. Conclusions: The 3-biomarker panel can be used to identify patients with bladder cancer recurrence. The 2-biomarker panel can be used to predict patients at greater risk of bladder cancer recurrence during follow-up. Both are reliable in patients with previous use of intravesical BCG Apolipoprotein A-1 Apolipoproteína A-1 Biomarcadores Biomarkers Diagnosis Diagnóstico Inibidor 1 de ativador de plasminogênio Interleucina-8 Interleukine-8 matrix Metalloproteinase 9 Metaloproteinase 9 da matriz neoplasias da bexiga urinária Neoplasias urológicas Plasminogen activator inhibitor 1 Protein deglycase DJ-1 Proteína desglicase DJ-1 Recidiva Recurrence Urinary bladder neoplasm Urologic neoplasms
45	Hip-Hop Don't Die, We Multiply: Repetitiva troper i tidig hip-hop-film : Enhet och kreativitet som budskap och utväg Larsson, Ronja January 2018 (has links) Denna studie behandlar tidig hip-hop-film från 80-talet och dess kreativa uttryck genom hip-hop- kulturens fyra grundelement, där en slutsats är att graffiti, breakdance, DJ-ing och rap är av yttersta vikt i bildspråket, och audiellt. Att elementen inleder filmerna visar vilken betydelse dessa har och vidare samverkar de på varierande vis, vilket förstärker den enhet som finns med i filmernas budskap. Enhet och kreativitet är centralt i filmerna och budskap om att möjligheter, framgång och framtid ligger i dem är tydliga. En annan slutsats är att elementen och diverse troper repeteras och sprids vilket stärker hip-hop och hip-hop-film som varumärke. hiphop hip hop Hip-hop-film hip-hopens fyra grundelement graffiti breakdance DJ-ing rap mise-en-scène artisteri kollektivism social (im)mobilitet urban miljö 80-tal. Studies on Film Filmvetenskap
46	Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, -- Campbell, Andrew (Andrew S.) 08 1900 (has links) This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein. Collage music John Zorn Tempered Confetti Venni, Viddi, – Charles Ives Lucciano Berio George Rochberg DJ Orange Composition (Music) Collage. Quotation in music. Orchestral music. String quartets. Academic theses Art music Scores
47	Počátky pražské klubové scény / The beginnings of clubbing in Prague Kazdová, Darina January 2011 (has links) This piece of work was meant to be countinuous to my bachelor's thesis. In that essay I was dealing with the history of Czech electronic dance music in general. This time I focused just on Prague and surrounding area. The Czech capital was deeply influenced by presence of tourists. After the Velvet revolution, they were suddenly able to visit Prague. And as they they were already familiar with electronic music, they could help to spread it here. The situation in Prague is also compared with the rest of the world (western civilization). In the first part of the essay, I describe the qualitative research and the method I have used, which is the oral history. I also enclose a brief vocabulary of frequently used terms that are not very well known to the greater audience, I suppose. The last part is the analysis of the interviews itself. The interviews were done with important narrators.
48	What Are You Going to Do with the Rest of Your Life? Ferguson, Kelly K. 10 June 2014 (has links) No description available. Teaching Modern Literature Literature History Families and Family Life Alabama history Alison Bechdel Janet Malcolm DJ Waldie Truman Capote chick drummers humor essay persona nonfiction narrative Southern Lynyrd Skynyrd Yankee Generation X Kurt Cobain drunk
49	Windowlicker Röthig, Sabine 11 May 2016 (has links) In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können. / This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes. Popkultur Disco Techno EDM Acid Aphex Twin Chris Cunningham Club Club Visuals DJ Electronic Dance Music elektronische Musik Loop Mix MTV Musikproduktion Musikvideo Popmusik Pop-Persona Popsong Popstar Remix Richard D. James Sampling Song Tanzmusik Track Videoästhetik VJ Warp Records Windowlicker track disco techno EDM acid Aphex Twin Chris Cunningham club club visuals DJ electronic dance music electronic music loop mix MTV music production music video popular culture pop music pop persona pop song pop star remix Richard D. James sampling song dance music video aesthetics VJ Warp Records Windowlicker 780 Musik 48 Musik LR 11370 ddc:780
50	Techniques for automated and interactive note sequence morphing of mainstream electronic music Wooller, René William January 2007 (has links) Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which I will refer to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components. I have developed a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached. I formally evaluated the probabilistic morphing algorithm by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

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