In this thesis, the focus is to enhance our understanding of the collaboration process within film music production, with the intention of applying this knowledge to music education. Data were collected through video observations and analyzed using Biasutti's (2018) theory and thematic analysis. The results reveal that collaborative film music production comprises five key themes, initially derived from Biasutti (2018). However, modifications to these themes emerged as a result of the study's application in a music production scenario rather than a compositional scenario. The identified themes are experimenting, listening/evaluating, constructing, recording, and sound design/mixing. The results show that these various themes are interwoven in different ways. Together, they intricately shape the collaborative process of music production. The interplay between experimentation, listening/evaluating, constructing, recording, and sound design/mixing underscores the depth and complexity of collaborative music production.

The work here aims to evaluate the usability of software applications and define their quality for stakeholders in the music industry. Initial work focuses on standardised tools and procedures and sets benchmarks for performance times and completion rates across software packages, before aiming to make some suggestions about how improvements could be made in the design of said interfaces. Further work goes on to explore industry tools in the context of the real world, live performance tools, categorising them according to purpose and evaluating their success. Finally, a series of workshops and discussion groups aim to identify problems and solutions, suggesting a novel way of evaluating music information systems from a usability perspective. The work here explores usability issues in terms of efficiency, effectiveness and user satisfaction, showing that systems can fail in all three categories. While typical software tools such as Cubase are found to be somewhat usable, the changing requirements of users mean that software systems are no longer effective in performing day to day tasks required of them. There is further exploration into how software tools are used incorrectly or inefficiently, where learning curves are too steep to overcome and where systems inevitably fail. The thesis culminates in a suggested set of heuristics which can be used to evaluate current systems and used as a guideline in developing human-centred systems within the context of music performance and production. The work highlights the strengths of existing systems in terms of enabling creativity and providing an efficient platform for content creation, while making suggestions about future directions of such systems including a discussion in social web integration and pervasive interfaces.

This thesis explores how the study of realistic mixes can expand current knowledge about multitrack music mixing. An essential component of music production, mixing remains an esoteric matter with few established best practices. Research on the topic is challenged by a lack of suitable datasets, and consists primarily of controlled studies focusing on a single type of signal processing. However, considering one of these processes in isolation neglects the multidimensional nature of mixing. For this reason, this work presents an analysis and evaluation of real-life mixes, demonstrating that it is a viable and even necessary approach to learn more about how mixes are created and perceived. Addressing the need for appropriate data, a database of 600 multitrack audio recordings is introduced, and mixes are produced by skilled engineers for a selection of songs. This corpus is subjectively evaluated by 33 expert listeners, using a new framework tailored to the requirements of comparison of musical signal processing. By studying the relationship between these assessments and objective audio features, previous results are confirmed or revised, new rules are unearthed, and descriptive terms can be defined. In particular, it is shown that examples of inadequate processing, combined with subjective evaluation, are essential in revealing the impact of mix processes on perception. As a case study, the percept `reverberation amount' is ex-pressed as a function of two objective measures, and a range of acceptable values can be delineated. To establish the generality of these findings, the experiments are repeated with an expanded set of 180 mixes, assessed by 150 subjects with varying levels of experience from seven different locations in five countries. This largely confirms initial findings, showing few distinguishable trends between groups. Increasing experience of the listener results in a larger proportion of critical and specific statements, and agreement with other experts.

What is a genre and what elements decide a genre? Is it possible to change the characteristics of one genre and thereby evolve a track into a new one? How much of a genre lies in the production and how much lies in the composition? These are some questions that I have explored and investigated in my thesis. I have been particularly interested in whether, and if so how, I could make tracks in their original genres into my own through remixes. Based on previous research on music psychology and theory of genres I develop a framework to position my work. The production process has been based on a directionless instinct to truly unveil a personal sound. By creating three different remixes from three different tracks I manage to change some of the key concepts and evolve the original tracks to something different, eventually changing the genre itself. Through this investigation of transforming these three tracks from their original genre into another one that is more in line with my musical identity, I explore the limitation of the concept “genre”. / <p>Till dokumentationen hör även följande inspelningar:</p><p>Aloft Quartet - False Fetch.mp3 <em>- Originallåt</em></p><p>False Fetch (Søfelde Remix).wav <em>- Min remix</em></p><p>Boys and Ivy - Boys We Chased.mp3 <em>- Originallåt</em></p><p>Boys We Chased (Søfelde Remix).wav <em>- Min remix </em></p><p>Pastlife - This is Her.mp3 <em>- Originallåt</em></p><p>This is her (Søfelde Remix).wav <em>- Min remix</em></p>

The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.

The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.

Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

This Master thesis is about applying creative production methods and principles of design (from applied- and fine arts) to a music production process. The aim is to analyse and describe a musical process where instead of music theory-based principles and thinking; principles and aesthetics of design were converted to musical ideas through cross-disciplinary thinking and analysis. This thesis is mostly delving on the editing and mixing aspects of creative music production: how a change of perspective and principles influenced the musical results. / <p>Bilaga: 1 audio-CD och 1 data-CD</p>

Denna uppsats syftar till att redogöra för hur producentens roll i musikproduktioner har utvecklats i förhållande till ny teknik. Förhoppningsvis kan denna kunskap leda till en bättre förståelse om yrkets utveckling och hjälpa (aspirerande) producenter att utveckla och anpassa sitt kunskapsområde därefter. En undersökning i form av intervjuer med två producenter/ tekniker har genomförts för att besvara vad som enligt dem är producentens roll i musikproduktioner och hur teknikens utveckling har påverkat dem i sina roller. Uppsatsens teoretiska ramverk är inspirerad av det sociokulturella perspektivet som visar på hur vi lär oss av den sociala och kulturella omgivning vi lever i. Resultaten visar att producentens roll blir alltmer multifunktionell och att vara musikproducent idag kan innebära att man sköter om allt från teknik till komposition, för att bara nämna några ansvarsområden. En möjlig anledning till denna utveckling är hur datorns introduktion som ett verktyg i musikproduktion har öppnat dörren för flera att lära sig hantera den nödvändiga tekniken.

Orientador: Jose Eduardo Ribeiro de Paiva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T11:59:12Z (GMT). No. of bitstreams: 1 JaramilloArango_Julian_M.pdf: 729826 bytes, checksum: a14df9066f878c29215a6b8728bee55b (MD5) Previous issue date: 2005 / Resumo: A música eletrônica de pista apresenta-se, no começo da década de 2000, como um fenômeno portador de novos paradigmas para a música, no que respeita à criação, à difusão e à apreciação. Esta pesquisa examina o surgimento deste fenômeno, no começo da década de 1980, a partir do pensamento de Pierre Schaeffer, que fornece uma metodologia apropriada para tal empreendimento. No primeiro e segundo capítulos, estudam-se o entorno tecnológico da música no século XX, o arsenal de ferramentas fabricadas de forma industrializada e o processo social de incorporação destas tecnologias. No terceiro capítulo, disserta-se sobre os desafios estéticos da música eletrônica e as dinâmicas de trabalho que se desenvolvem. Promulga-se, aqui, a emergência de uma nova experiência musical, a que se denomina ¿discurso da reprodução¿. Por último, aprofunda-se no trabalho do grupo de música pop alemão Kraftwerk, como antecessor e elaborador da música eletrônica, assim como exemplo da incorporação da tecnologia ao trabalho em música realizado no século XX / Mestrado / Mestre em Multimeios