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"Copies without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording PracticesMichaud, Alyssa R. 20 December 2012 (has links)
This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
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"Copies without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording PracticesMichaud, Alyssa R. 20 December 2012 (has links)
This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
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"Copies without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording PracticesMichaud, Alyssa R. January 2012 (has links)
This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
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Technology and interactivity in modern/post-modern Japanese theatreDraker, Diana Lily 30 April 2018 (has links)
Multimedia technology in theatre is nothing new, but various companies in modern and post-modern Japan, such as Dumb Type, Hatsune Miku, and the robot theatre of Oriza Hirata and Hiroshi Ishiguro, have been experimenting with mediatized technology. This thesis hones in on these Japanese multimedia theatres. It studies the origins of mediatization in theatre, looking at the impact of the innovations made by Adolphe Appia. Furthermore, the growing impact of media technology can create a perception of ‘Liveness’ of these artificial actors. Liveness is a critically important concept, both on and off stage, affecting how one perceives the non-human and the type of relationships that are conveyed between the human and non-human actor, as well as the non-human actor and its human audience. This thesis covers the productions of “A One Woman Show” and a spoiler-heavy discussion on "Super Danganronpa 2 The Stage ~Sayonara Zetsubō Gakuen~" within the context of the impact of projections on stage. Robots and the uncanny valley are also reviewed, with the play "Sayonara" as the primary case study within this topic. Then the thesis analyzes the experimental human theatre of Dumb Type, focusing on their plays "S/N" and "pH," as well Vocaloid concerts and the impact of these characters, especially Hatsune Miku, upon the fans. In the course of this analysis, reasons are suggested as to why these technological innovations have found particular success in Japan. / Graduate
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Virtuella artister på scen : Samspelet mellan artister och publiken i livekonsertvideor / Virtual Music Artists on Stage : The interaction of artists and the audience in live concert videosSelle, Hella January 2020 (has links)
Denna studie är en inventering av tre lösningar till hur det digitala kan sättas in i ett livekonsertsammanhang, med hjälp av bland annat AR. Studien undersöker genom en videoanalys, de tre virtuella artisterna Gorillaz, Hatsune Miku och K/DAs liveuppträdanden. Tre konsertvideor från ett särskilt tillfälle med motsvarande musikvideo användes som material för analysen. Utifrån frågeställningen undersöks hur de olika semiotiska fälten samspelar, samt ett avsnitt där sambandet mellan grafisk design och AR diskuteras. Frågorna som studien fokuserat på är hur den digitala aspekten av en virtuell artist återges vid livekonserten, samt hur den virtuella artisten kan interagera med såväl levande musiker som med publiken. Analysen visar att alla tre exempel interagerar med publiken i olika mån. Hur den digitala artisten tolkas och återges vid en livekonsert löses genom olika teknologier och med olika metoder. Trots de tydliga skillnaderna har de en sak gemensamt: trots att artisten är virtuell gör samspelet med publiken konsertupplevelsen verklig.
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Hatsune Miku: estudo sobre a constituição do ídolo virtual no cenário pop japonês / Hatsune Miku: a study about the construction of the virtual idol in Japanese pop sceneAoki, Beatriz Yumi 26 April 2018 (has links)
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Previous issue date: 2018-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The theme of research is the virtual idol Hatsune Miku and her collective construction from
the practices of her fans, who are responsible for most part of the production of related
content (such as songs and images). This research aims to understand how the virtual idol in
the Japanese pop scenario highlights the relation of the Japanese otaku to fantasy, having as
our main hypothesis that, for the fan, fantasy is a form of reality and the notion of authorship
is shared, suggesting an indistinction between creation, production and circulation. The
methodology is based on the conceptual analysis of the constructive processes of the virtual
idol, based on a literature review that describes otaku culture; on the studies of the fancelebrity
relationship in the specific Japanese context and on the documentary research and
analysis of the content produced concerning the object of this study. In this sense, the
dissertation is structured in two main chapters: the first one analyzes the Japanese otaku
culture and the context in which it is constituted, based on authors such as Barral (2000),
Azuma (2009), Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) and
Robertson (1998); while the second aims to reflect on the constitution of the virtual idol and
its forms of relationship with Japanese fans, mainly based on Conner (2016), Black (2012),
Sone (2017) and Kinsella (1995). As a result, this research is expected to contribute on
discussions concerning otaku culture and its understanding of fantasy, specifically in the
Japanese context / O tema desta dissertação de mestrado é a ídolo virtual Hatsune Miku e a sua constituição
coletiva a partir das práticas de seus fãs, responsáveis por grande parte da produção de seu
conteúdo (como músicas e imagens). A pesquisa busca compreender como o ídolo virtual no
cenário pop do Japão evidencia a relação do otaku japonês com a fantasia, tendo como
hipótese principal que, para o fã, a fantasia é uma forma de realidade e a noção de autoria é
compartilhada, sugerindo uma indistinção entre criação, produção e circulação. A
metodologia baseia-se na análise conceitual dos processos construtivos do ídolo virtual, a
partir da revisão bibliográfica que descreve a cultura otaku; nos estudos da relação fãcelebridade
no âmbito específico japonês e na pesquisa documental e análise dos conteúdos
produzidos em torno de nosso objeto de estudo. Nesse sentido, a dissertação estrutura-se em
dois capítulos principais: o primeiro analisa a cultura otaku japonesa e o contexto no qual ela
se constitui, tendo como fundamentação teórica autores como Barral (2000), Azuma (2009),
Iwabuchi (2002), Kinsella (1998), Ōtsuka (2010), Condry (2013) e Robertson (1998);
enquanto o segundo se propõe a refletir sobre a constituição do ídolo virtual e suas formas de
relação com os fãs japoneses, a partir de Conner (2016), Black (2012), Sone (2017) e Kinsella
(1995). Como resultado, espera-se que a pesquisa contribua nas discussões acerca da cultura
otaku e de seu entendimento de fantasia, especificamente no contexto japonês
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