Indianapolis / With increasing advancements in the availability of technology for music, professional music production may be accomplished anywhere with as little as a laptop and a pair of headphones. To improve ability, users may find free tutorials and lessons online on services such as YouTube, alleviating the need to attend a formal physical or online school. Although there are many free online tutorials on the fundamentals of music production, without a sense of organization between the tutorials, many beginner producers end up lacking knowledge of major topics crucial to advancing to intermediate and advanced levels of production. Knowledge of the fundamentals of recording, producing, mixing, and mastering will give a novice producer enough of a foundation to advance to a higher quality and level of production and the ability to seek out more advanced learning topics.

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The portfolio presented comprises of five binaural acousmatic works composed primarily for headphone reproduction but also for multi-channel loudspeaker concert diffusion. The commentary traverses the programmatic and aesthetic considerations involved in the construction of the portfolio and the influence of the in-ear binaural method of recording and reproduction thereof. The spectral watermark (the effect of the recordist on the resulting recording), negative space (the space left by the recordist, subsequently occupied by the listener), spatial strategy and the contextually rich results of the method are discussed, along with their creative applications within the portfolio.

This quantitative study investigates the possible correlation between auditory loudness perception and commercial success in the music industry by measuring and comparing the loudness levels of the top 10 and the bottom 10 singles from the Top 100 Billboard Year End Chart between 1980 and 2010. A total of 140 singles from 1980 and 2010 (with 5 year intervals) were measured in terms of integrated loudness, momentary maximum loudness and loudness range. The variables were measured using the computer software based processing of iZotope Ozone Insight and Waves Loudness Meter (WLM) on Cubase 5 Digital Audio Workstation (DAW) platform. The data were analysed for any observable trend in terms of loudness level, commercial success and consistency between iZotope Ozone Insight and WLM. The analysis clearly showed the steady increase in loudness level over time. Between the top 10 and the bottom 10 singles, there was no statistically significant difference. Therefore the results of this study illustrated that, for the Top 100 Billboard Year End Chart, there is no evidence of any correlation between the perceived loudness and the commercial success (sales). / Mini dissertation (MMus)--University of Pretoria, 2016. / Music / MMus / Unrestricted

Since the advent of capture technologies poets have advanced, through their experimental practice, an expanded understanding of what constitutes a text to incorporate not only its content, but also its construction. Reframed by morphological and mechanical perspectives, our changing relationship with sound and image was constituent to a cumulative process of artistic abstraction that would, in time, come to define modernity. By highlighting the importance of technologies such as telegraphy and electricity in the conception of poetry as a connecting force, of photography and cinema in the recalibration of our perceptions of subject and object, and of gramophony, radio, television and computing technologies as key agents in a process of naturalization regarding the relationship between poetry and its audience, this thesis will attempt to illustrate the progression of technology-led abstraction in oral, written and music based poetries from the beginning of the industrial age to the present day. Our relationship with the communication technologies we invent has become increasingly interwoven with the epistemological structures such mechanisms advance. This thesis will propose that as a consequence, the ways we organise and remediate texts, sounds and images into new, creative contexts that utilize the mass communication technologies and distribution networks of our modern experience positions electronic music, rap, digital memes and other interdisciplinary modes of digital expression as significant poetic forms. Our day-to-day engagement with diverse media allows us to reconfigure all our manifestations of self and any examination of mass media's impact on poetic expression must likewise constitute a reading of both literary and popular materials. To this end, this thesis will consider the progressive technologization of our engagement with oral, written and music-based poetries that media technologies facilitate within the context of the praxis of prominent poets, their literary theories and those of the literary movements they endorsed.

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