Recording direction became during 20-century full-fledgede artistic profession. It has developed next to the recording technology from the first hints alongside the phonofraph up to indespensable part of the digital multichannel recording process. Its story has filled the lives of many significant personalities, especially composers, conductors, musicologists. Theirs artificial credit corresponds the difficulty, ensuing the principle of the sound record – mirror of the musical composition and its unique interpretation. The interest to research the spirit of recording direction has emerged from vagues opinions about function of the recording direciton and the sound engineer. Where are theirs mutual boundaries. The listening of a record doesn’t show the influence of the recording direction during its creation. It is possible to co mpare to day knowledge of recording direction posture with the memoirs important personalities artificial world and recording industy. Historical sources and literature are next to the historial recordings only sources of information. The mapping of all the activities of the recording direction and detailed classification rice a division, innternally strongly linked with phases of recording process and types of recordings. They are parallel actions with high pretention of concentration. Umbrella – feature of recording direction is psychology of the communication with the interpreters and the members of recording crew. The recording direction is a part of the recording proces even out of big procuctions of complicated projects. Recorded music needs the supervision and to be assessed from the point of view of the sound quality and musical content of the interpretation, which are stored in the record unchangeable. Recording direction is latently present in every recording project, albeit done by some other vicarious person.

For many years, speech recognition threshold (SRT) testing has been used as an indicator of audiologic health. However, with changing methods and technology, test-retest reliability has not been reviewed extensively with newer digitally recorded spondaic words which meet a published criterion of listener familiarity. This study examined the test-retest reliability of 33 high frequency usage and psychometrically equated spondaic words. The American Speech-Language-Hearing Association recommended method (2-dB decrements) was used to measure the left and right SRT of 40 participants using both male and female talker recordings. For each participant, four SRTs were found during the test condition and four SRTs were found during the retest condition. All of the SRT scores were analyzed and the averaged SRT values found using a male talker recording resulted in an average retest SRT to be 1.4 dB better than the average test SRT. The averaged SRT values found using a female talker recording resulted in an averaged retest SRT to be 1.2 dB better than the averaged test SRT. The SRT scores also showed high validity when compared to each participant's pure tone average (PTA). This study additionally found no significant interaction in using a male versus a female talker when using digitally recorded and psychometrically equated spondaic words.

The introduction of digital tachographs has brought many changes compared to previously used analogue tachograph. Legislation addressing this issue is quite extensive and often amended. Ever-present threat of industrial equipment, which affect the observed, and the stored data has a negative impact on road safety. The aim of this paper is to present a comprehensive overview of legislation regulating the issue of digital tachographs in relation to the introduction and use of digital tachographs, with obligations to use a tachograph, tachograph functional requirements. Process further review of data on vehicle operation recorded with a digital tachograph and analyze their availability in terms of approval of the different actors (the driver, carrier, service, police, other supervisory authorities). Contribution of this work is the elaboration of recommendations for the expert's methodology in analyzing data from the digital tachograph.

The purpose of this study is to develop, present and assess a skillsdevelopment module in pre-recorded digital performing arts (PRDPA) that may enable performing artists to become practitioners of pre-recorded digital performing arts. The module is encapsulated within the South African educational paradigm. A secondary function of the pre-recorded digital performing arts module is to enable young performers to introduce themselves to an online audience, promote themselves as performing artists and enhance their online presence and digital footprint. The proposed skills-development module potentially enhances agency and an entrepreneurial mindset while democratising the domain of performance in the workspace and entertainment industry. The research consists of three parts. The first part of the research is located in two domains to design a module in pre-recorded digital performing arts. The study draws on the domain of mediality, which includes online presence, digital performance and pre-recorded digital performing arts; and on the domain of education, which includes social constructivism, and teaching and learning in a social network environment. The second part requires the presentation of the module to a select group of participants with the support of a continual feedback loop. The third part is the assessment of the module through an analysis of prerecorded digital performing arts videos created by the participants. To do so, I analyse the pre-workshop videos and the videos created as part of the workshop by the workshop participants, as well as the responses of a group of experts, to the material generated by the participants before and after the presentation of the module. This analysis is supported by a module evaluation by participants. The research concludes that there is a noticeable difference between the two videos created by each participant and that the skills-development module in pre-recorded digital performing arts is effective. / Thesis (PhD)--University of Pretoria, 2019. / Drama / PhD / Unrestricted

The purpose of this study was to determine if the addition of music and sound effects to recorded stories increased the comprehension and retention of information for fourth grade students. The data were analyzed by a two-factor analysis of variance, with repeated measures for both comprehension and retention tests, for the total population. Each reading level group was analyzed separately by an analysis of variance. Of eight hypotheses tested, six showed a significant difference. The conclusions drawn from this study indicated that the addition of music and sound effects 1) Increases the listening comprehension and retention of fourth grade students; 2) Is more effective for retention for students with a high reading level; and 3) Is more effective for initial listening comprehension for students with low reading level but the effect is not significant for retention.

The  emergence of the internet and  digitisation  has  led to  the disruption/transformation of  therecorded music industry sector. This has resulted in a shift  from  physical  to  digital  sales, which has also led to a decline in the global recorded music sector revenue. Although largely attributed to piracy and illegal music downloads, some have argued that this was as a result of  the reduction in the perceived value of commercially distributed recorded music. The audio quality of music and user experience has specifically been highlighted to have suffered due to digitisation. Experience from the case of the introduction of HDTV gives an example of a similar industry sector that was able to revive itself by implementing high-definition (HD) quality standards. This thesis set out to  investigate if such an approach could be applicable to  the recording music sector in order to create a similar HD music quality standard. The methodology adopted, involved performing a comparative case study to analyse what  lessons can be taken from the HDTV standardisation approach and how applicable it would be within  the recorded music sector. This was coupled  with interviews of industry actors that represent  the value creation network/chain of the recorded music sector. The result suggests that such a standardisation approach could be applicable and benefit the recorded music sector; however, this is conditional on overcoming a number of challenges that were   identified.

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Background Companies realization of the possibility to target specific audiences in an intimate setting through podcasts, has created a significant expansion of the podcast industry during the last decade. This development has created possibilities for independent podcast hosts to earn revenue. Today, investments towards marketing in the medium is projected to continue to grow substantially.   Problem Since podcasts are consumer controlled and categorized as a pull-medium, listeners’ attitudes and preferences are critical for podcast hosts to consider when monetizing their content. The largest audience of podcasts is found within Generation Y, which increases the importance of accounting for these attitudes and preferences, since they are assumed to be a particularly challenging consumer segment to target.   Purpose The purpose of this thesis is to explore the relationships that Generation Y have to hosts in different type of podcast categories. Following, the research aims to investigate how these relationships influence the podcasts’ possible opportunities to maximize their revenue.   Method This qualitative research was conducted through semi-structured interviews with individuals from Generation Y. The empirical data was analyzed according to the conceptual framework developed through existing literature within the field of study.      Result The findings of this research enabled the authors to provide recommendations regarding preferable forms of monetization for the four identified podcast categories. The sponsorship approach was identified as the preferable primary form of monetization for Category 1, 3 and 4. Whereas the Subscription Model was recommended for Category 2. The authors further suggested the most beneficial supplementary forms of monetization for each podcast category as well as general recommendations for all.

The purpose of this study was to determine the test-retest reliability of digitally recorded word recognition materials. Word recognition testing is included in a complete audiological evaluation to measure an individual's ability to discriminate what they hear. A phonetically balanced list of 50 monosyllabic words was presented to each participant at four different sensation levels (SL) using the American Speech Language Hearing Association recommended protocol for word recognition score testing. Each participant took a 10 minute break before the test was readministered. Participants included 40 subjects with varying levels of hearing loss, from normal hearing to severe hearing loss. The test and retest scores of all participants were analyzed to estimate the test-retest reliability to be .65 at 10 dB SL, .87 at 20 dB SL, .88 at 30 dB SL, and .95 at 40 dB SL. It was concluded that the word lists have strong test-retest reliability at 20, 30, and 40 dB SL and that the reliability increases as the presentation level increases.