Currently, there is a lack of research on the use of digital audio from the perspective of music educators in higher education. Researchers [for example: James Mason and Jared Wiercinski (2009), Jean E. Ferguson (2004), Richard Griscom (2003), Scott R. Phinney (2005) and Kathryn Sullivan, John J. Stafford, and Cindy Badilla-Melendez (2004)] have, however, studied streaming audio in relation to university students and libraries. Knowing the perceptions of instructors is important, because according to Oblinger & Oblinger (2005), they may not have the same perceptions as the students. Additionally, Moseley (2010) recommended further qualitative studies concerning the perceptions of faculty regarding technology utilization to allow more in-depth information to be discovered on the topic. The purpose of this qualitative multiple case study was to analyze music educators' perceptions and usage of the use of digital audio (e-reserves and streamed databases) in higher education. This research explained how and why these educators utilize (or do not utilize) streaming audio via e-reserves and databases. The research questions used for this study were: (a) How is streaming audio - in the form of e-reserves and subscription-based databases (Naxos and Classical Music Library - being utilized by college/university level educators at the two studied institutions?; (b) What are the perceptions of the participating music department faculty members on the subject of streaming audio?; and (c) What factors, regarding the use of streaming audio, are considered by the participating instructors to be important? Results of this research revealed participant instructors did utilize digital audio recordings, but not all of the instructors utilized streaming audio. The results of this study also revealed possible reasons for the lack of use of available streaming audio resources.

No description available.

No description available.

This study examined the changes that occur in spontaneous speech when speakers are distracted by background audio. Forty young adults answered open ended questions under five audio conditions (pink noise, movie dialogue, heated debate, classical music, and contemporary music) and a silent condition. Acoustic parameters assessed during the sessions included mean and variability of the fundamental frequency (F0), mean and variability of intensity, speaking time ratio, and disfluency ratio. It was hypothesized that there would be significant increases in the mean and variability of F0 as well as the mean and variability of intensity. There were statistically significant increases in mean and variability of intensity and mean F0 across most audio conditions. There were no significant changes in variability of intensity in the pink noise condition and no significant changes in variability of F0 in any audio condition. We hypothesized that the speaking time ratio would decrease in the presence of background audio compared to the silent baseline. Results demonstrate significant increases in speaking time ratio except for the classical music condition. It was expected that the disfluency ratio of speech production for each participant would increase in the presence of background audio, with informational masking demonstrating the most increase. Results revealed a significant increase in disfluency ratios across background audio conditions except for the pink noise and classical music conditions. Participants reported the heated debate and contemporary music to be the most distracting. These results have potential clinical implications regarding the type of environment where therapy is given, and what type of everyday situations might cause the most difficulties with fluency as well as the processing and production of speech.

Audio augmented reality är en teknik som jämfört med dess visuella motsvarighet och virtual reality inte får samma utrymme i diskussionen av nya och spännande interaktiva medium. Dessutom brukar ljud överlag i interaktiva medier primärt användas för att endast stödja det visuella. I detta utforskande arbete undersöks därför möjligheterna av ljudbaserad navigation inom fysiskt interaktiva audio augmented reality-upplevelser genom utformning och testning av ett ljudbaserat spel. För att skapa förståelse för hur ljudbaserade spel förmedlar information till användaren har en kvalitativ analys utförts av åtta olika titlar som använder sig av tredimensionella spelytor. Tillsammans med applicering av designteorier inom användarupplevelse och ljuddesign skapades ett ramverk för utformningen av arbetets gestaltning. Genom kvalitativa användartester och intervjuer där deltagarna fick interagera med det ljudbaserade spelet och sedan utvärdera det, undersöktes hur väl det utformade ramverket lyckades med att skapa en navigerbar, virtuell miljö. Resultaten indikerar att ramverket och dess innehållande teorier och metoder är väl applicerbara för detta syfte, samt att ljudbaserade spel i augmented reality upplevdes som ett spännande och intressant medium att interagera med. / Audio augmented reality is a technology that is not as frequently appearing in the public discourse regarding new and exciting interactive mediums compared to its visual counterpart or virtual reality. Audio is generally also less highlighted or utilized in interactive mediums, with its main purpose being to support the visual elements. In this explorative work we have therefore studied the possibilities of auditory navigation in physically interactive audio augmented reality environments through an audio game. To better understand how audio games convey information to the user, a qualitative analysis was done on eight titles which incorporates three dimensional navigation. Combined with the application of design theory within the fields of user experience and sound design, a framework for the design of the study's audio game was made. The framework's level of success at creating a navigable, virtual environment was tested through qualitative user testing and interviews where participants could interact with and evaluate the audio game. Results indicate that the design and the framework it was built from is applicable for its purpose, as well as audio games in audio augmented reality being perceived as an exciting and interesting medium to interact with.

The use of audio recording and playback as a way of consuming music has become as widely accepted as the use of a concert stage. Many professional classical ensembles task themselves with producing recordings regularly. At the same time, it is becoming more necessary for performing musicians to have the skills and understanding of recording technology to create their own content and evaluate their playing and the playing of others. While many publications provide detailed knowledge and assistance for recording violins, guitars, and voices, little attention has been given to the bassoon. The historical context for how the bassoon has developed within the realm of recorded music remains unexplored. Additionally, the acoustic characteristics of the bassoon are oftentimes generalized with the qualities of other woodwind instruments, and the techniques employed by audio engineers and recording studios are not analyzed in the context of the instrument’s unique properties. The purpose of this paper is to provide bassoonists and audio engineers with a more comprehensive understanding of how the bassoon performance behaves in the recorded environment. Information regarding historical background, instrumental acoustics, and recording techniques will be compiled and uniquely centered around the experience of recording the bassoon. In addition, observational analysis of recorded performances will verify hypotheses made by the compiled research and demonstrate how recordings may be analyzed through the lens of this newly acquired information. The result of this research is a collection of unique instances, from both the past and present, of interaction between bassoon performance and the recorded medium which have otherwise been unappreciated. / Music Performance

No description available.

No description available.

No description available.

No description available.