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71	台灣獨立唱片廠牌實作：以小白兔橘子唱片為例 / The Practice of the Independent Record Label in Taiwan - A Case Study of White Wabbit Records 戴昀, Tai, Yun Unknown Date (has links) 本研究以一家台灣獨立唱片廠牌─小白兔橘子唱片為個案，探討其實際運作情況及其音樂產品由生產到消費的過程。透過深入訪談及實物蒐集，我由四類不同身分參與者的實作層次與意識層次觀點切入研究問題，其中受訪對象包括：獨立唱片廠牌經營者、獨立音樂唱作者、獨立音樂產品消費者以及樂評人等。研究結果的討論在實作層次包括三個層面，即產製面、消費面及互動面，而在意識層次則主要討論各類參與者對於獨立音樂產品之「獨立性」的看法與實踐。研究結果發現，獨立音樂的產製具有低資本與高自主性的特色。首先，獨立音樂廠牌的經營規模較小，而低經濟資本的經營方式反映在實際的產製過程中，在相關合作對象與宣傳管道的選擇上產生一些限制；不過，廠牌經營者所擁有的社會資本常成為廠牌成立與存續的重要助力。再者，相較於主流音樂而言，獨立音樂的唱作人對於產品與宣傳活動的展現方式有相當高的自主性，但相對而言也必須更為自立，無法在所有環節上都依賴廠牌。而獨立音樂的消費者在消費資訊的取得方式上是較為積極主動的，而不是被動地依賴較容易取得的主流媒體資訊。以全球化的觀點論之，小白兔橘子唱片作為一個本地獨立廠牌，雖然擁有與跨國集團有所區隔的獨特利基，但仍是以英美語系音樂產品的輸入作為最重要的經營項目。對台灣的獨立音樂產業而言，如何活絡「本地音樂產品」的發展，而不只是存在著「本地廠牌」，需要各方參與者及政府機構更多的投入與努力。 / This research is a case study of White Wabbit Records (hereafter WWR), an independent record label in Taiwan. I investigated the mode of WWR’s operation as well as the process from production to consumption of its music merchandise. Through in-depth interviewing and archival strategies, I collected data on the views and experiences of four different actors in the independent music business: the executive of the independent record label, the independent bands and artists, the consumers of independent music, and music critics. There are two primary aspects involved in this research: 1) “performance”, which includes production, consumption, and interactions amongst the actors; and 2) “ideology”, which comprises the views and practice of each actor with respect to the “independent-ness” in independent music products and production. The research found that two distinguishing features – “low cost” and “high autonomy” – are involved in the production of independent music. First, independent record labels are predominantly small companies, and thus the executive’s social capital is crucial to the establishment and ongoing operation of the company. However, in order to cut costs, many procedural restrictions exist, such as in the choice of collaborationists and promotional methods. Second, the autonomy in creativity that independent bands and artists enjoy during the production and promotional processes is much higher than that of their major record label counterparts. Nevertheless, artistic freedom comes at a cost: greater autonomy means the bands and the artists are unable to rely on their record labels to provide the bulk of the necessary resources. Moreover, the consumers of independent music are more proactive in accessing musical information, as they do not depend passively on the information transmitted to them through major broadcasting venues and the mass media. With respect to issues of globalization, even though WWR is a local independent record label with a particular niche different from that of transnational corporations, Anglo-American recordings continue to be WWR’s most important merchandise. Ultimately, while an “independent record label” already exists in Taiwan, the independent music industry here still needs to facilitate its development in the production of home-made music, rather than rely on Western imports. The achievement of this goal needs further participation and efforts of related actors as well as the government of Taiwan. 流行音樂獨立音樂獨立廠牌音樂商品文化工業文化全球化 popular music independent music independent label music production cultural industry cultural globalization
72	Is it possible to create an indistinguishable or equal frequency response between a digital equalizer and an analog emulating equalizer plug-in? Sigfridsson, Simon January 2018 (has links) This research examines if an indistinguishable, or equal, frequency response of a software plug-in that is emulating an analog equalizer can be reconstructed using a more standard digital equalizer such as one incorporated with a digital audio workstation (DAW). It is narrowed down to solely involve high frequency bands by analyzing the emulating plug-ins hi-shelving filters. A two-comparison forced choice ABX-test was conducted to verify the hypotheses and the results show that the difference between the original and the reconstructed hi-shelving filter was inaudible to the listening test participants. Further research and application for these findings is discussed Audio engineering Equalization EQ Technology Mixing Music production Frequency response Analog emulation ABX test Ljudteknik Equalization EQ Musikproduktion Frekvens response Analog emulering ABX test Övrig annan teknik
73	Digital (r)evolution? : tre pedagogers upplevelser av musikskapande med digitala verktyg i grundskola, gymnasium och högskola Hallonsten, Tomas January 2018 (has links) In the Swedish school debate there is a great deal of confidence in the ability of digital tools to increase the learning levels of students and teachers in different ways. The music subject is no exception. The purpose of this paper was to investigate how music teachers in different levels perceive digital tools in music education. In order to get an overall picture, qualitative interviews were conducted with three teachers selected from different levels of school: an independent primary school with digital music profile, a municipal secondary school with aesthetic emphasis on music as well as a music school with music and media production. Music education is increasingly about writing, recording and recording songs using the digital tools whose influence on content and working methods is in the process of exploring. The empirical study material has been collected using qualitative interviews, which were then analyzed from a hermeneutic perspective. The results point to the enormous possibilities of digital tools, but also the difficulties that accompany them. If they are reduced to an instrument of amusement, the risk is that they curse the music subject instead of enriching it. Thus, the digital tools place high demands on teachers to use them in a manner that truly serves the purpose of teaching. Digital tools digital music profile music education music production elementary school high school college gamification Digitala verktyg digital musikprofil musikpedagogik musikproduktion grundskola gymnasium högskola spelifiering Humanities and the Arts Humaniora och konst
74	Target Spectrums For Mastering : A comparison of spectral stylistic conventions between rock and vocal-based electronic music Schedin, Oscar January 2021 (has links) Through the analysis of the spectral characteristics of thousands of mastered (or remastered) commercial recordings from a variety of genres over the history of popular music, researchers have studied stylistic trends and spectral conventions. The aim of this study was to further explore, analyse and compare the spectral characteristics of two broad but distinct popular music genres: rock and vocal-based electronic music. The main reason for this choice of genres being that rock generally predominantly is based on (amplified) acoustical elements (e.g. acoustic drums and acoustic/electric bass/guitars) and that electronic music generally predominantly is based on electronic elements (e.g. beats and synthesizers). The stimuli for the study consisted of 24 top-five hit songs from the Billboard charts between 2016-2020, divided by genre. A fast fourier transform approach was used for the computation of target spectrums as well as low level descriptors for the two independent datasets of recordings. Spectral analysis followed with the goal of answering the following research questions: What do the spectral stylistic conventions appear to be in rock versus vocal-based electronic music and what spectral differences/similarities exists between these two distinct popular music genres? The results showed that there were some significant spectral differences between the two genres, especially noticeable in the low end of the frequency spectrum. Other genre-specific spectral trends and overall spectral conventions were found as well. Target Spectrum Frequency Spectrum Spectral Conventions Rock Electronic Music Sub Bass Comparison Long-Term Average Spectrum Mastering Mixing Billboard Music Production Reference Tracks Sound Engineering Popular Music Hit Songs Spectral Analysis Engineering and Technology Teknik och teknologier
75	Case Studies in Classical Location Recording Using Improvised Techniques Van Dyne, Steven R. 29 April 2015 (has links) No description available. Music Audiology Engineering Mass Media Technology classical recording location recording stereo techniques stereo systems classical location recording classical engineering recording techniques audio production classical music modern recording techniques music production stereo recording
76	La production indépendante de la musique traditionnelle, communiquer pour garantir la diversité culturelle : études de cas autour de la musique traditionnelle en Colombie dans les régions Andine et Caraïbe / Independent production of traditional music, communicate to ensure culturl diversity : Case studies around the traditional music in Colombia in the Andean and Caribbean régions / La producción independiente de música tradicional, comunicar para garantizar la diversidad cultural : estudios de caso sobre la música tradicional en Colombia en las regiones andina y caribe Velasquez, Sandra 05 July 2013 (has links) L’Exception Culturelle marque le point de départ des questions soulevées à propos de la singularité de l’industrie culturelle sur fond de traités commerciaux de libre-échange, débats qui aboutiront à une réponse de la part de la communauté internationale avec la Convention en faveur de la Protection et de la Promotion de la Diversité des Expressions Culturelles approuvée par l’Unesco en 2005. D’autre part, la réforme constitutionnelle de 1991 entreprise en Colombie affirme le caractère multiethnique et pluriculturel du pays, reconnaissant du même coup de façon officielle la diversité des expressions culturelles au sein de la nation. Enfin, les ressources technologiques dont peuvent disposer les musiciens à partir des années 1990 sont le troisième facteur fondamental au cœur de notre thèse. La convergence de ces faits nous ont conduits à nous interroger sur la réalité de la production indépendante de musiques traditionnelles en Colombie, dans les régions andine et caribéenne en particulier. La Théorie Critique, l’Economie Politique, les Cultural Studies ainsi que les apports d’auteurs latino-américains portant sur la relation existante entre Communication et Culture ont borné le cadre théorique de nos recherches. Nous avons choisi les récits de vie comme outil méthodologique pour mieux appréhender les expériences vécues par les producteurs indépendants de musiques traditionnelles. Cette thèse met en lumière les formes et pratiques de différents types de production qui vont de l’autoproduction jusqu’aux productions des maisons indépendantes. En outre, nous exposons les tensions existantes entre les indépendants et la grande industrie, les médias et le phénomène de la piraterie. Notre travail soumet et propose un concept nouveau: La Production en Confrérie, pour mieux caractériser les liens qui se tissent entre musiciens, producteurs, fans et institutions qui tendent à faciliter la production indépendante de musiques traditionnelles. / The debate about the singularity of the cultural industry in the times of free trade has been happening since the Cultural Exception. The international community has been contributing to this debate through the Convention for the Promotion and Protection of the Diversity of Cultural Expressions, endorsed by the UNESCO in 2005. In parallel, the 1991 amendment to the Colombian constitution acknowledges a multiethnic and multicultural country, that is, it recognizes diversity in the nation´s cultural expressions. The third factor that influences this thesis are the technologic resources shared by music producers from the 90s. These facts made us wonder about the current situation of independent traditional music production in Colombia, the Andean Region and in the Caribbean. The theoretical framework was guided by the Critical Theory, the Political Economy, the Cultural Studies and the inputs from Latin-American authors on the relationship between Communication and Culture. The methodology used life stories in order to get to know the experience of traditional music independent producers. This thesis shows the production methods, from self-production to independent music producers. Besides, it shows the tension between independent producers and big companies, mass media and piracy. This research introduces the concept of Brotherhood Production in order to explain the relationships among musicians, producers, fans and institutions. These relationships make possible the production of independent traditional music. / El debate sobre la singularidad de la industria cultural en tiempos de libre comercio viene dándose desde la Excepción Cultural y tiene una respuesta de la comunidad internacional con la Convención por la Protección y Promoción de la Diversidad de Expresiones Culturales aprobada en la UNESCO en el 2005. De otro lado, en Colombia, la reforma constitucional de 1991 afirma el carácter multiétnico y multicultural del país, es decir reconoce la diversidad de expresiones culturales de la nación. El tercer hecho que marca esta tesis son los recursos tecnológicos que tienen los productores de música a partir de los 90´s. Estos hechos nos llevaron a preguntarnos por la realidad de la producción independiente de músicas tradicionales en Colombia, en la Región Andina y en la Región Caribe. La Teoría Crítica, la Economía Política, los Cultural Studies y los aportes de los autores latinoamericanos sobre la relación entre Comunicación y Cultura orientaron el marco conceptual. Las historias de vida fueron la metodología seleccionada para conocer la experiencia de los productores independientes de música tradicional. Esta tesis evidencia las formas de producción desde la autoproducción hasta las productoras de música independiente. Además, muestra las tensiones de los independientes con la gran industria, los medios de comunicación y la piratería. Esta investigación propone el concepto Produccion de Cofradía para explicar las relaciones que se tejen entre músicos, productores, fans e instituciones para posibilitar la producción independiente de música tradicional. Diversité Culturelle Production musicale Indépendante Musiques traditionnelles Industries culturelles Industries Créatives Production en Confrérie Colombie Cultural Diversity Independent Music Production Traditional Music Cultural Industries Creative Industries Brotherhood Production Colombia Diversidad Cultural Producción de Música Independiente Músicas tradicionales Industrias culturales Industrias Creativas Producción Cofradía Colombia
77	Mot händelsernas horisont : Att komponera improviserad musik med ljuddesign som metod Jonsäll, Hans Lennart January 2021 (has links) This Bachelor Thesis in composition explores an alternative compositional process for creating improvised music through the approach of sound design. The questions addressed in the thesis are concerned with how the soundscape can be controlled by the composer while still maintaining the expressivity of an improvised performance. Thus, the composer’s role as both sound designer, producer and performer is investigated using live electronics and score design. The theoretical framework for the thesis is to be found in the intersection between Anglo-American experimental music, electronic music, sound design and electroacoustic improvisation. Key influences include indeterminacy as expressed in the music of John Cage, Deep Listening practices pioneered by Pauline Oliveros as well as the aesthetical paradigms of electronic and electroacoustic music. The artistic methods revolved around the following steps: studio workshops with musicians (Fredrik Ekenvi and José Louis Relova Gallego) exploring timbres, playing techniques and music technology in real-time followed by associative discussions about the soundscapes created; composing audio and graphical drafts influenced by the workshops; designing diagrams for the electronics and compiling these to a design document; workshopping and performing the final piece (Towards the Event Horizon). Towards the Event Horizon (for bass clarinet, electric guitar and live electronics) is the final result of the work, comprising a score with accompanying design document as well as a recording of the original performance at Studio Acusticum in Piteå 20th of March 2021. The artefacts and associated documentation are presented in their entirety on the dedicated Research Catalogue exposition. Conclusions include how composition and sound design are tied together and cannot be considered as isolated processes, especially in the context of live electronics; the interrelationship between the improviser, the acoustic soundscape and the artistic associations that inform the improvisation; the importance of form as the defining element of a composition and lastly; how a score for improvised music can be devised in the shape of a blueprint of form and texture, setting certain technical, sonic and gestural conditions while leaving the performer to play freely within this frame. / <p>Konstnärliga artefakter presenteras via Research Catalogue: https://www.researchcatalogue.net/view/1250652/1250651</p> Composition Experimental music Electronic music Electroacoustic music Electroacoustic improvisation Graphical scores Live electronics Sound design Sound art Sound engineering Music production Digital sound processing Real-time sound processing John Cage Pauline Oliveros Deep Listening Indeterminacy Komposition Experimentell musik Elektronisk musik Elektroakustisk musik Elektroakustisk improvisation Grafiska partitur Live-elektronik Ljuddesign Ljudkonst Ljudteknik Musikproduktion Digitalt ljud realtidsprocessning John Cage Pauline Oliveros Deep Listening Indeterminacy Music Musik
78	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

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