Science fiction has long promised the digitalization of books. Characters in films and television routinely check their palm-sized (or smaller) electronic displays for fast-scrolling information. However, this very technology, increasingly prevalent in today's world, has not been embraced universally. While the convenience of pocket-sized information pieces has the techno-savvy entranced, the general public still greets the advent of the e-book with a curious reluctance. This lack of enthusiasm seems strange in the face of the many advantages offered by the new medium - vastly superior storage capacity, searchability, portability, lower cost, and instantaneous access. This dissertation addresses the need for research examining the reading comprehension and the role emotional response plays in the perceived performance on e-document formats as compared to traditional paper format. This study compares the relative reading comprehension on three formats (Kindle, iTouch, and paper) and examines the relationship of subject's emotional response and relative technology exposure as factors that affect how the subject perceives they have performed on those formats. This study demonstrates that, for basic reading comprehension, the medium does not matter. Furthermore, it shows that, the more uncomfortable a person is with technology and expertise in the requested task (in this case, reading), the more they cling to the belief that they will do better on traditional (paper) media - regardless of how well they actually do.

Research on workforce development has focused on general employment trends and traditional industry. Few researchers have studied the potential workforce development implications of emerging industries particularly in those that have sprung from the digital economy. This thesis focuses upon the digital music industry in the Atlanta region. An economic impact study was conducted to illustrate and define the digital music industry and understand its implications for workforce and economic development. This research is significant because it will enable Atlanta workforce developers to assist in reducing unemployment and educational attainment gaps particularly in disadvantaged neighborhoods. Implications for the state includes creating a workforce development strategy based upon digital music innovation that increases Atlanta s overall competitiveness and quality of life by increasing the high-technology and Information-technology workforces.

xvi, 120 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Instructional use of the iPod Touch is increasing as evidenced by anecdotal reports of its efficacy as a learning tool. However, research documenting the impact of this technology has been limited. This study was based on the following research questions: (a) Does providing explicit reading comprehension strategy instruction using an iPod Touch increase students' reading comprehension outcomes based on standardized reading tests and multiple-choice probe measures when compared to a No Support comparison group? (b) Does providing different types of electronic text support increase students' reading comprehension outcomes, and if so, which type of support is most effective? (c) Does providing different levels of electronic text support influence students' attitudes toward the use of comprehension strategies as well as using an iPod Touch for this task? Participants included 155 sixth-grade students at a public middle school. Students were randomly assigned to one of three intervention groups; (a) Notational Only support (a note-taking sheet), (b) Notational + Instructional support (embedded prompts), and (c) Notational + Instructional + Translational support (audio version of the text and prompts) and received reading comprehension strategy instruction and text support using an iPod Touch. An intact No Support ( N = 61) group that did not receive instruction or text support but read the texts using an iPod Touch was used as a quasi-experimental comparison group. Two standardized reading comprehension measures were employed at pretest and posttest as well as researcher developed probe measures that were used throughout the study. An ANOVA analysis determined that no statistically significant differences existed between the groups at pretest. An ANCOVA with pretest scores as a covariate found no statistically significant differences between groups on the standardized reading comprehension measures. Because of a high level of variation among the probe measure data, including significant missing data, these results were not analyzed statistically and were reported descriptively. Students responded positively to survey questions about using the iPod Touch for summarization strategy instruction and the text supports. / Committee in Charge: Dr. Edward J. Kame'enui, Chair; Dr. Kathleen Scalise; Dr. Louis Moses; Dr. Lynne Anderson-Inman

The present paper represents an overview of the most popular Russian social networking site VKontakte and its role in the formation of modern music consumption pattern in post-Soviet countries. Until spring 2017, it was known as the biggest platform for free music consumption in the region. The main distinctive feature of VKontakte was that it was providing free music content for its members and, as a result, was known for problems with international copyright law.However, in 2017 drastic changes occurred in copyright policies of the network, which affected music content distribution in it. As a result, VKontakte users were experiencing new routines and rapid evolution of their daily consumption habits. This research provides extensive analysis of digital music listening practices, based on the in-depth interviews with the members of the network.

The thesis titled "Use of digital marketing tools in the music industry" focuses on digital marketing and digital music and their mutual relationship. The aim is to describe the possibilities of digital marketing in today's music industry and explore the hypothesis that the Internet and digital music fundamentally affect modern music industry and thus the marketing of music artists and their work. The first part describes the transformation of the Internet into its present form. It also describes digital marketing, its history, tools and significant trends. The second defines the music industry and explain its structure and the change, which it is currently undergoing, due to the advent of digital music. The third part presents the analysis of individual digital music distribution and marketing tools.

Cette thèse porte un regard sur les musiques improvisées et leur rapport à la scène à travers mon expérience et celle de treize personnalités du milieu des arts avec qui j’ai eu des entretiens privilégiés. L’essence de cette démarche est d’observer comment les créateurs utilisent l’improvisation en situation de concert ou simplement comme méthode de recherche grâce aux outils numériques ou analogiques. Ce panorama me permet de mettre en perspective mon travail de composition et de recherche à une époque où, comme créateur, j’ai bifurqué vers les musiques numériques après de longues années d’écriture et de performance scénique dans le milieu du jazz et des musiques d’improvisation. Au passage se problématise la causalité du geste lors de la performance avec des outils numériques. La thèse retrace tout d’abord un parcours sommaire de la musique improvisée – plus particulièrement celle que l’on appelle la musique actuelle au Québec ou encore lafree improvisation. À travers ce survol seront soulevées quelques questions de nomenclature et d’esthétique afin de mieux cerner les enjeux propres à cette pratique. La réflexion se poursuit avec des entretiens à travers lesquels j’explore la comprovisation, le DJing, les instruments de musique numérique, la danse et la composition. La réflexion culmine autour de cinq de mes œuvres écrites en collaboration avec les milieux de la musique improvisée et de la danse. / This thesis looks at improvised music and its relationship to the stage through my experience and that of thirteen personalities from the arts world with whom I have had privileged interviews. The essence of this approach is to observe how creators use improvisation in concert situations or simply as a research method using digital or analog tools. This panorama allows me to put my composition and research work in perspective at a time when, as a creator, I have turned towards digital music after many years of writing and stage performance in the field of jazz and improvisational music. In passing, the causality of the gesture during performance with digital tools is problematic. The thesis first retraces a brief journey through improvised music - more particularly what is called musique actuelle or free improvisation. Through this overview, a few questions of nomenclature and aesthetics will be raised in order to better understand the issues specific to this music. The reflection continues with interviews through which I explore comprovisation, DJing, digital musical instruments, dance and composition. The reflection culminates around five of my works written in collaboration with the improvised music and dance communities.

Följderna av covid-19 pandemin har lett till att hela världen har fått ställa om och anpassat sig till de restriktioner och rekommendationer som har införts för att minska smittspridningen. Under år 2020ökade digitaliseringen i samhället och en bransch som har fått anpassa sig är evenemangsbranschen. Då restriktioner kring fysisk interaktion i form av att begränsa sociala kontakter infördes blev det svårt för arrangörer att arrangera fysiska evenemang och många valde då att genomföra dem digitalt istället. Musikbranschen, vars intäkter i stor utsträckning kommer från fysiska konserter och stimpengar, drabbades extra hårt och även de fick ställa om till digitala versioner. Denna omställningen är någonting nytt både för arrangörer men även för deltagarna. Denna uppsats studerar deltagares attityder mot digitala musikevenemang genom att kolla på deltagare på Zara Larssons digitala konsert i mars 2021. Attityden analyseras utifrån hedonistiska och utilitaristiska värden, som har visat sig relevanta i tidigare studier baserade på attityden av fysiska evenemang. För att belysa den digitala aspektens effekt om evenemanget analyseras även ekvalitet. Då det tidigare har varit mer fokus på kvantitativa analyser så ger denna studie en merdjupgående bild av deltagarnas attityder av digitala musikevenemang, genom 13 semistrukturerade intervjuer med deltagare på ett digitalt evenemang. Slutsatsen som dras i denna studie är att även om deltagarna föredrar fysiska evenemang så har de en generellt positiv attityd mot digitala evenemang. Det visade sig att en positivevenemangsupplevelse leder till en positiv attityd. Alla de hedonistiska värdena från HED/UTskalan visade sig vara applicerbara. Hedonistisk tillfredställelse visade sig vara applicerbar, medan eudaimonisk tillfredställelse inte var applicerbar i samma utsträckning. De mest applicerbara utilitaristiska värdena från HED/UT-skalan var funktionell & praktisk, och det minst applicerbara värdet var nödvändigt. Mellan dessa två värden var utilitaristiska starkast i syftet att delta på ett digitalt evenemang. Den digitala kvaliteten mättes genom e-kvalitet på evenemanget, och hade även den stor påverkan på upplevelsen trots att alla dimensioner inte gick att applicera på studien. / During the year 2020 the society were forced to readjust due to the covid-19 pandemic. To reduce the spread of the disease, restrictions and recommendations regarding physical interaction were established. These restrictions made it difficult for different industries to continue their business. For instance both, the music and the event industry were hit hard. The music industry get a large amount of its income from physical concerts and music revenue, and events could not be held in a physical form with fear of spreading the virus. To readjust the industries began making digital concerts and events instead, which was a readjustment new to both organisers and participants. This paper studies the participants attitudes towards digital music events by looking into participants on Zara Larssons digital concert in March 2021. The attitude is analysed by looking at hedonic and utilitarian values, that have shown to be relevant in previous studies of attitudes towards physical events. To be able to analyse the digital aspect and it effects towards the event, itis of importance to include e-quality in the analysis as well. By using a qualitative method, this study grants a deeper understanding of participants attitudes towards digital music events. Which is made through 13 semi structured interviews with participants of a digital event. The conclusion driven from this study is that even if the participants prefer physical events, the still have an overall positive attitude towards digital events. It became clear that a positive event experience lead to a positive attitude towards the event. All the hedonic values from the HED/UT scale were found to be applicable. Hedonic satisfaction was also applicable, while eaudomic satisfaction was not to the same extent. Regarding the utilitarian values from the HED/UT-scale, "functional" and "practical" where the most applicable values, and "necessary" the least. Among these two values, the utilitarian values were the strongest in the purpose of attending a digital event. The digital quality measured through e-quality, had a great impact on the experience, event though not all dimensions were applicable in the study. This essay is written in Swedish.

Notskrift används för att dokumentera, kommunicera och läsa musik. Notskrift har traditionellt lästs från papper, men med ny teknik tillgänglig har fysiska papper till viss del bytts ut mot digitala enheter, såsom surfplattor. Fördelar med notläsning på surfplattor kan vara portabilitet, snabb åtkomst, och möjlighet för smidig bladvändning. Möjliga nackdelar kan vara svårigheter att annotera och liten skärmstorlek. Tidigare forskning på området har bland annat berört metoder för bladvändning, digitala notställ och digital semantisk förståelse av noter. Trots rapporter om musikers preferenser relaterat till exempelvis storlek på noterna saknas studier om vilka åsikter och attityder musiker har till fenomenet notläsning på surfplatta och i vilken utsträckning de vill använda det. För att kunna utveckla digitala verktyg som gör nytta för frilansmusiker i det dagliga yrkesutövandet behövs kunskap om hur de använder teknik, vilka förutsättningar som kan underlätta notläsning på surfplattor, och om det finns specifika hinder eller sociala aspekter som påverkar attityder till ny teknik. För att adressera problemet är det av intresse att undersöka attityder kring notläsning på surfplattor. Studiens frågeställning lyder: Vilka attityder har frilansmusiker i en kammarmusikensemble till notläsning på surfplattor? För att undersöka fenomenet genomfördes en kvalitativ “face-to-face survey” på frilansande musiker som är medlemmar i en kammarmusikensemble. I syfte att fånga åsikter, attityder, och känslor genomfördes semistrukturerade intervjuer. För att få en tydlig bild av respondenterna genomfördes även en kort grundläggande enkätundersökning. De transkriberade intervjuerna analyserades genom en tematisk analys där egenskaper kodades utifrån den insamlade informationen. Vidare identifierades teman explicit, utan att leta efter något utöver det som har sagts. Detta utfördes med ett datadrivet tillvägagångssätt, där mönster huvudsakligen framkom ur data snarare än analytikernas intressen. De attityder som framkom i studiens resultat kan beskrivas vara övervägande positiva, främst baserat i att surfplattor av musikerna beskrivs ha logistiska och praktiska fördelar såsom portabilitet, snabb åtkomst, och delning. Utöver de positiva attityderna återfanns även negativa attityder, med teman rörande rädsla för tekniska problem, ovana, och svårigheter med bladvändning och annotering. Begränsningar i studien rör studiens korta tidsperiod och att datainsamlingsmetod i stor grad anpassats efter respondenternas tillgänglighet samt att resultatet inte kan anses fullständigt generaliserbart. Tidigare forskning har till stor del berört enskilda aspekter av digitala noter och experiment i kontrollerad miljö. Studien ger nya insikter relaterat till vad musiker upplever i verkliga sammanhang. Resultatet kan vara till nytta för utvecklare av applikationer för notläsning eller tillverkare av tillbehör för bladvändning. / Sheet music is used to document, communicate, and read music. Traditionally sheet music was read on paper, but with new emerging technology physical paper is partly being replaced by digital devices such as tablets. Some advantages of digital sheet music and tablets are described as portability, rapid access, and possibility for easier page turns. Possible disadvantages could be difficulty annotating and small screen sizes. Previous research on the subject has touched on different methods for page turning, digital music stands, and digital semantic understanding of sheet music. Reports about some aspects of musicians preferences, for example regarding size of note staffs are found in the literature, but there is a lack of research on which attitudes and opinions musicians hold regarding reading music from tablets. To be able to develop digital tools that create value for freelance musicians in their daily work, knowledge about how they use technology and which obstacles hinders use. To address the problem it is interesting to explore attitudes towards reading music from tablets among freelance musicians. The research question of this study is: Which attitudes do freelance musicians in a chamber music quartet hold towards reading music on tablets? To explore the phenomenon, a qualitative “face-to-face survey” was performed on freelance musicians that are members of a chamber music quartet. Semi structured interviews were conducted to acquire attitudes, opinions, and emotions. A small questionnaire was also used to get a clear picture of the participants and gather background information. The transcribed interviews were analyzed by first coding interesting characteristics based on the information collected. Furthermore, themes were identified explicitly, without looking for anything beyond what has been said. This is done with a data-driven approach, where patterns emerge mainly from the data rather than the interests of analysts. The attitudes that were held by the participants of the study can be described as mostly positive, based on that tablets were described having logistic and practical advantages such as portability, rapid access and sharing. However, some negative attitudes were found among the musicians, concerning fear of technical problems, unfamiliarity, and difficulty turning pages and annotating. Limitations in the study relate to the study's short time period, that the data collection method was largely adapted to the respondents' availability, and that the results cannot be considered generalizable. Previous research has largely concerned individual aspects of digital sheet music and experiments in a controlled environment. The study provides new insights related to what musicians experience in a real life environment. The result may be useful to developers of music reading applications or manufacturers of page turning accessories.

Syftet med följande uppsats är att undersöka hur musiklärare uppger att de arbetar med skapande i musikundervisningen, vilka förutsättningar som behövs för att kunna arbeta med skapande i skolan samt vad de tror att skapande kan bidra med för eleverna. Metodlitteratur och tidigare forskning visar att det går att arbeta med skapande på många olika sätt i grundskolan och att skapande kan tillskrivas många olika betydelser. Skapande visar sig också ha betydelse både för elevernas kunskapsutveckling och för utveckling på ett personligt och emotionellt plan. Föreliggande studie utgår från ett sociokulturellt perspektiv, är kvalitativ och bygger på semistrukturerade intervjuer med fyra musiklärare. För att analysera intervjumaterialet har en tematisk analys tillämpats. I studiens resultat presenteras flera olika arbetssätt inom skapande i grundskolans musikundervisning däribland skapande utifrån bilder och berättelser, digitalt skapande och skapande med rytmer. Förutsättningar för att kunna arbeta med skapande är ytterligare något som presenteras. Både materiella förutsättningar som tillgången till instrument och sociala förutsättningar så som klassrumsklimat visar sig vara viktiga för att kunna arbeta med skapande. Vad skapande kan bidra med för eleverna är också något som presenteras i resultatet och aspekter som lyft är bland annat att elevernas kreativitet kan utvecklas och de får uttrycka sina tankar och idéer i det skapande arbetet. I diskussionskapitlet ställs studiens resultat i förhållande till bakgrundslitteratur och tidigare forskning. Studien går att sammanlänka med tidigare forskning och det framgår att skapande kan innebära många olika saker, utföras på många olika sätt och att det kan ha positiva konsekvenser för elevernas utveckling. / The aim of this study is to investigate how music teachers states that they work with creativity in music teaching, which requirements who are needed for working with music creation and how they believe that music creation can contribute to pupil’s development. Method literature and previous research shows that music creation can imply many different meanings and that it is possible to work with music creativity in many different ways. Creation in music also proves to be important both for students' knowledge development and for development in a personal and emotional way. This study is based on a sociocultural perspective, it is qualitative and based on semi-structured interviews with four music teachers. Thematic analysis has been applied to analyze the data from the interviews. The results of the study present different ways to teach in music creation, for example music creation based on pictures and stories, digital music making and music making with rhythms. Requirements needed for working with music creation is also something that is presented. Both material conditions such as access to instruments and social conditions such as the classroom climate prove to be important to be able to work with music creation in school. What music creation can contribute to pupil’s development is also something that is presented in the results and aspects that are presented is for example that pupil´s creativity develops, and they are able to express their thoughts and ideas. In the chapter for discussion the results are compared with previous research. The study can be linked to previous research and it is clear that music creation can mean many different things, be performed in many different ways and that it can have positive consequences for students' development.

聽音樂是每個人不可或缺的習慣，四五年級生應該記得以前學生時代，每逢假日就往西門町跑，因為不管錢多錢少都可以在哪裡找到你要的音樂，不管是原版還是A版B版，都不會讓你失望，當然還有代客錄音等等。在那個時期Sony Walkman就像這幾年的iPod，名牌、優越、潮流、個人，也是年輕人最期望的禮物。當時很多人找的是國外的搖滾樂團音樂，聽的是台灣民歌，看的是餐廳駐唱的民歌演唱，而國外藝人的演唱會是遙不可及的事。經過這麼多年，聽到像「天堂之階」（Stairway to Heaven/Led Zeppelin IV 1971）或「加州旅店」（Hotel California/Eagles 1977）這樣的老歌內心還是一樣的感動，但曾幾何時，足不出門，只要有網路，只要想得到都聽的到，音樂也一樣的感動。 現在人手一機，到處都能聽音樂，縱然經濟衰退加上金融風暴，全球消費因此而恐慌，但是手機與隨身聽廠商，尤其蘋果更是異軍突起，毫不受景氣影響。 根據調查或從周遭的朋友觀察，應該不難發現，買CD的人變的非常少，但是如果再進一步問一下，很多人花更高的代價看演唱會或Live House現場表演，然而唱片業產值卻每況愈下。 最近看了幾個線上音樂經營者，發現像KKBOX其on demand的模式，在台灣已呈現飽和狀態，因此迫使他往其他硬體如Smart Phone以及海外發展，因此讓我好奇，在網路上除了on demand還有其他模式是可能有商機的嗎？如果有，應該是怎麼樣的型態？ 過去曾經涉獵過遊戲產業，遊戲歷經盜版到線上免費，產業越做越大，因此將兩個產業對比一下，發現如果唱片產業能夠接受創新模式，也許下一個機會就在電信，因為經過本研究，發覺電信可提供互補的機會。因此經由設計的產品實驗，並作一些調查與電訪，試著提供數位音樂經營的新模式與電信發展的關係。甚至建議電信應該跟唱片全面合作。 / In the good old time, almost the students of north Taiwan went to the Hsimenting of Taipei city. Everyone would find his/her loved music no matter local or foreign. There was a service that you could ask the record shop to record your dedicated songs into cassette tapes. In that time the SONY Walkman is the most favorite gift for the youth. In that period, it was impossible that the foreign rock bands held a concert in Taiwan. For Taiwanese, only they could do was going to a live house to enjoy local music. Even now whenever the radio comes out with the songs such as “Stairway to Heaven by Deep Purple” or “Hotel California by Eagles”, we are very excited as same as the good old time. And now the scene is no longer but you can easy to find your favorite from the internet wherever or whenever you are. Recently, I looked back to Taiwanese digital music service and learnt that there is only one business model in Taiwan. That is ‘on demand’ model, such as “KKBox” and “ezPeer”. Since they lunched these services, it has been four to five years already and went to peak. There is few growth of their subscription base. So I wonder is there any new model for digital music market in Taiwan? If yes, what it would like be? Based on my work experience in Electronic Arts for decades (a famous gaming company based in Red Wood City in USA of California), I try to compare the two industries between computer gaming and digital music. I found that in Taiwan Computer Games was not defeated by the illegal copy, but they come stronger and bigger than the digital music. Why not transfer the successful model? In this research, it shows that the next chance of digital music can be related to Telecom. And it suggests that both Telecom and Music can be co-worked for more closely.