Global ETD Search

1	Digital Jukebox Jin, Yin January 2011 (has links) This bachelor's project uses the Spotify API (Application Programming Interface) to implement a new application called SpotBox, a “digital jukebox”. As it is known, the traditional jukebox has disappeared from the market. There are many reasons for this, such as the limitation of storage capacity and the update frequency of music is not timely. This project proposes to apply the digital technology to build a new jukebox system. The idea is to build an application based on Spotify to run in an ordinary computer that could control the incoming of the coins and the selection of the music. This new version of the jukebox, the digital jukebox, would be deployed in pubs and discos.The development utilized C# as the programming language and the operation system is Microsoft Windows.The method of the project has 3 steps. The first step is the application requirements‟ analysis. This step identifies and analyses the requirements of the application to work as a digital jukebox and the additional functions based on the Spotify.The second step is the study about the Spotify API (Application Programming Interface). This is necessary step to verify what is possible to implement from the identified requirements.Finally, the work was concluded by implementing the required functionalities, as well as a enhancing the graphical interface. The graphical interface combined with these functionalities composes an application prototype.As for the main result, the application was fully developed with the minimum required functionality and interface. Secondary results can be named as the report of the possibilities that allowed by the Spotfy API together with the complete requirement analysis of the functionalities that were outside the scope of the intended prototype implementation. Digital Jukebox Spotbox C# Computer Engineering Datorteknik
2	Embedding intelligence in enhanced music mapping agents Gray, Marnitz Cornell 19 May 2009 (has links) M.Sc. (Computer Science) / Artificial Intelligence has been an increasing focus of study over the past years. Agent technology has emerged as being the preferred model for simulating intelligence [Jen00a]. Focus is now turning to inter-agent communication [Jen00b] and agents that can adapt to changes in their environment. Digital music has been gaining in popularity over the past few years. Devices such as Apple’s iPod have sold millions. These devices have the capability of holding thousands of songs. Managing such a device and selecting a list of songs to play from so many can be a difficult task. This dissertation expands on agent types by creating a new agent type known as the Modifiable Agent. The Modifiable Agent type defines agents which have the ability to modify their intelligence depending on what data they need to analyse. This allows an agent to, for example, change from being a goal based to a learning based agent, or allows an agent to modify the way in which it processes data. Digital music is a growing field with devices such as the Apple iPod revolutionising the industry. These devices can store large amounts of songs and as such, make it very difficult to navigate as they usually don’t include devices such as a mouse or keyboard. Therefore, creating a play list of songs can be a tiresome process which can lead to the user playing the same songs over and over. The goal of the dissertation is to provide research into methods of automatically creating a play list from a user selected song, i.e. once a user selects a song, a list of similar music is automatically generated and added to the user’s playlist. This simplifies the task of selecting music and adds diversity to the songs which the user listens to. The dissertation introduces intelligent music selection, or selecting a play list of songs depending on music classification techniques and past human interaction. Artificial intelligence Intelligent agents (Computer software) Digital jukebox software
3	Musikproduktion och Artificiell intelligens : En studie om AI som verktyg inom musikproduktion Berggren, Pontus January 2020 (has links) Syftet med studien är att undersöka hur AI kan användas som verktyg inommusikproduktion. De tre program som valdes ut för undersökningen var: AIVA, GoogleAI och Jukebox. För att genomföra undersökningen har deskriptiv fallstudie valts sommetod med komplettering av autoetnografi och designforskning. Resultatet visade påhur de olika programmen kunde användas i olika områden av musikproduktion. AIVAkan användas för att komplettera och/eller återskapa mänsklig kreativitet. Jukebox somär en generativ modell kan användas för att emulera ljudfiler till att imitera olika låtareller andra kompositörers stilar. Google AI består av flera AI program bland annatScribe och Magneta Studios ingår. Där Scribe kan användas för att transkriberapianoljudfiler till MIDI och Magenta Studios kan användas som fristående programeller som plugins i en DAW och med MIDI eller ljudfiler kan programmet utökakreativiteten, ge nya idéer eller bara för experimentera med AI. AI i musikproduktionkan användas som ett effektivt hjälpmedel för att skapa, hitta eller utöka kreativitet.Studien bidrar till att ge ytterligare kunskap om hur AI kan användas som ett kreativtverktyg i musikproduktion genom forskaren själv använder programmen och på ettdetaljerat sätt förklarar processen från början till slut och tar upp exempel på hurprogrammen kan användas i musikproduktion. AI Musikproduktion Artificiell Intelligens Jukebox AI Google Magenta AIVA Media and Communication Technology Medieteknik
4	Hörgeräte Papenburg, Jens Gerrit 21 March 2012 (has links) Die Geräte, durch die Musik im Zeitalter der technischen (Re-)Produktion gehört wird, haben sich immer wieder gewandelt. Solche Geräte müssen überhört werden. Nur so kann Musik gehört werden. Trotzdem – so die These der Arbeit – organisieren diese Geräte das Hören und sind Agenturen einer Bewirtschaftung und Technisierung der Wahrnehmung. In der Arbeit wird anhand von zwei Fallstudien aus der Geschichte der Rock- und Popmusik gezeigt, wie solche Geräte sowohl den Hörer als auch die gehörte Musik formieren. Durch Hörtechnologien bilden sich neue Hörpraktiken heraus und die Körperlichkeit des Hörers wird neu bestimmt. Die Anpassung von Klanggeschehen an spezifische Hörtechnologien wird im Mastering – dem letzten Schritt der technischen Musikproduktion – untersuchbar. Die Geräte, durch die Musik gehört wird, sind also weder schlichte Wiedergabetechnologien noch bloße elektrotechnische Artefakte. Vielmehr sind sie Gefüge aus Klanglichkeit, Körperlichkeit und Technologie. Diese werden in der Arbeit als Hörgeräte auf den Begriff gebracht. Die Hörgeräte der Rock- und Popmusik zielen – wie ihre medizintechnischen Verwandten – auf die Materialität der Wahrnehmung. Im Gegensatz zu diesen funktionieren sie jedoch nicht als Prothesen, die an einer gattungsweit postulierten Norm ausgerichtet sind. Statt Normen bergen sie Exzesse – an Serialität und Wiederholung – sowie Eskalationen – von Lautstärke und von hohen und tiefen Frequenzen. Die Arbeit ist in drei Kapiteln gegliedert. Im ersten Kapitel wird die These der Arbeit in Bezug auf theoretische Diskurse der Musik-, Kultur- und Medienwissenschaft verortet und eine begriffliche Systematik entwickelt. Kapitel zwei und drei sind Fallstudien gewidmet. In der ersten wird das Jukeboxhören der Rock’n’Roll-Kultur der 1950er Jahre untersucht, in der zweiten das Soundsystemhören der Disco- und Clubkultur der 1970er bis 1990er Jahre. Die im ersten Kapitel entwickelte begriffliche Systematik macht die Fallstudien vergleichbar. / The devices by which music is listened to in the age of technological (re-)production have changed over and over again. These devices must be imperceptible to the ear. Only then can music be heard. Nonetheless – this is the claim of the thesis – these devices organize hearing and are agents of a cultivation and technization of perception. Based on two case studies from the history of rock and pop music, this thesis reveals how such devices constitute not only the listener but also the music which is listened to. Through listening technologies new listening practices emerge and the corporality of the listener is newly defined. The adaptation of sound to specific listening technologies can be analysed during the mastering process, the last step in technological music production. The devices by which music is listened to are thus neither simple technologies of reproduction nor mere electrotechnical artefacts. Rather, they are assemblages of sound, corporality, and technology. In this thesis these assemblages are called “Hörgeräte” (listening devices). The listening devices of rock and pop music target – like medical-technical “Hörgeräte” (hearing aids) – the materiality of perception. Contrary to medical technologies, however, listening devices do not function as prostheses, which are calibrated according to medical industry standards. Instead, they contain excesses – of seriality and repetition – and escalations – of amplitude and high and low frequencies. The thesis is arranged in three chapters. In the first chapter I situate the main argument of the thesis within discourses of musicology, media and cultural studies, and develop my own terminology. Chapters two and three deal with case studies. In chapter two I investigate jukebox listening in 1950s rock’n’roll culture, whilst in chapter three I explore sound system listening in disco and club culture from the 1970s to the 1990s. The terminology developed in chapter one enables a comparison of the case studies. Kulturwissenschaft Geschichte des (Musik-)Hörens Geschichte des Nicht-Hörens auditive Wahrnehmung Technisierung des Hörens Bewirtschaftung des Hörens Hörgerät Materialität der Wahrnehmung Materialitäten der Musikkultur technisierte Organe Organ gewordene Technik eskalierte Organe Körperlichkeit des Hörens Hörpraxis Mastering Veröffentlichung von Musik technisierter Klang das Vorgehörte das Unhörbare das Ungehörte Mittler vs. Zwischenglieder Musikbegriff Klangkonzept Jukebox Soundsystem Single-Schallplatte Maxisingle Technologieentwicklung Rock’n’Roll Disco House Techno Musikwissenschaft Medientheorie Sound Studies Historische Anthropologie der Sinne Musikalische Vermittlungstheorie History of listening history of non-listening auditory perception technization of listening cultivation of listening listening device materiality of perception materialities of music culture organs and technology corporality of listening listening practice mastering practices of releasing music sound and technology mediator vs. intermediary concept of music concept of sound juke box sound system 7-inch single 12-inch single development of technology rock’n’roll disco house techno musicology media theory cultural studies sound studies anthropology of the senses theories of mediation 780 Musik 48 Musik AP 14900 ddc:780

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