20,769 research outputs found
Mapping the Discipline of the Olympic Games An Author-Cocitation Analysis
No full textThe authors conducted an author cocitation analysis on prominent authors writing about the Olympics during the 1990s. Author cocitation is an established bibliometric technique that can be used to measure the relative similarities of topics written about by the cited authors. This enables a visual representation of the “intellectual space” of the discipline, in this case the Olympics, to be created for the period under review. So core and peripheral research areas are identified, along with their major contributors. The representation appears as a two-dimensional cluster-enhanced map. Subject expertise was then applied to the results to place labels on the generated clusters of authors and their topics
Software agents in music and sound art research/creative work: Current state and a possible direction
No full textComposers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed
A study, exploration and development of the interaction of music production techniques in a contemporary desktop setting
No full textAs with all computer-based technologies, music production is advancing at a rate comparable to ‘Moore’s law’. Developments within the discipline are gathering momentum exponentially; stretching the boundaries of the field,
deepening the levels to which mediation can be applied, concatenating previously discrete hardware technologies into the desktop domain, demanding greater insight from practitioners to master these technologies and even
defining new genres of music through the increasing potential for sonic creativity to evolve.
This DMus project will draw from the implications of the above developments and study the application of technologies currently available in the desktop environment, from emulations of that which was traditionally hardware to the latest spectrally based audio-manipulation tools. It will investigate the interaction of these technologies, and explore creative
possibilities that were unattainable only a few years ago – all as exemplified through the production of two contrasting albums of music. In addition, new software will be developed to actively contribute to the evolution of music production as we know it. The focus will be on extended production technique and innovation, through both development and context.
The commentary will frame the practical work. It will offer a research context with a number of foci in preference to literal questions, it will qualify the methodology and then form a literature & practice review. It will then present a series of frameworks that analyse music production contexts and technologies in a historical perspective. By setting such a trajectory, the current state-of-the-art can be best placed, and a number of the progressive production techniques associated with the submitted artefacts can then by contextualised. It will terminate with a discussion of the work that moves from the specific to the general
Minimalism, Technology and Electronic Music
No full textThe adoption of both recording technology and electronically generated sounds has led to new explorations of ideas initially conceived for acoustic instruments, and has itself generated radically pioneering concepts. The chapter identifies and explores the various progressive uses of technology since the rise of minimalism in the 1960s, and how technology has helped shaped the notion of similarity and repetition in prominent minimalist composers' approaches. The paradox of how technology has become a dominant feature for certain composers, yet steered others towards a focus on acoustic instruments (which provide a more humanistic quality) with technology acting in a supporting role, is discussed throughout.
An example of the different consequences technology has had is exemplified in the experiences of La Monte Young and Steve Reich. Whilst Young's instrumental work with the Theatre of Eternal Music led to the electronically-generated sine tones of the Dream House, Reich's experiences with tape loops and the Phase Shifting Pulse Gate encouraged him to return to working with acoustic instruments. His gradual transition from an interest in technology within the performance context to a dissatisfaction is explored, and how the technologies of later works rendered a stronger sense of humanity because of this.
Repetitive minimalism relies heavily on the well-documented early studio experiments of Reich and Terry Riley with tape loops in both Europe and the US. The chapter investigates the various influences between them, and how two composers who are all too often grouped together held significantly differing approaches to the use of technology in their music.
Other areas which tend to be more neglected are also discussed within the chapter, such as James Tenney's early process-based work with tape and computer compositions which parallels mainstream minimalist music in simplicity of structures designed to focus perception upon surface detail. The pioneering work involving technology in live performance from Alvin Lucier is also examined in relation to simplicity in process, alongside more recent work from Chiyoko Szlavnics and Peter Adriaansz.
Sustained tone minimalism since Young has developed significantly with the use of electronic means; amplification, the introduction of sine tone manipulation, synthesisers and software development have all enabled composers who are interested in gradual parametric change to gain superior control over their material. The music of Charlemagne Palestine, Phill Niblock, and Eliane Radigue is discussed in detail, in relation to the composers’ various employment of technology, their outlooks on its performative capabilities and its evolving influence over their compositional approach.
Recent trends in minimalist electronic music are also explored, with artists such as Richard Chartier, Ryoji Ikeda and snd providing a focal point for discussion on the capabilities of digital processing. As well as outlining the capabilities of the new technologies, importance is given to how these technologies enable artists to develop on compositional concepts which have existed since the beginnings of minimalism.The tendencies towards extreme sparsity, use of digital silence and finer creative control over surface detail show how these artists’ work operates from within a minimalist lineage, but also expands the conceptual and experiential possibilities of recent digital technologies
Applications of system dynamics modelling to computer music
No full textBased on a composer's psycho-acoustic imagination or response to music, system dynamics modelling and simulation tools can be used as a scoring device to map the structural dynamic shape of interest of computer music compositions. The tools can also be used as a generator of compositional ideas reflecting thematic juxtaposition and emotional flux in musical narratives. These techniques allow the modelling of everyday narratives to provide a structural/metaphorical means of music composition based on archetypes that are shared with wider audiences. The methods are outlined using two examples
Thinking-through-Music:
No full textArtistic research in music is now at a generational stage of development. How should it deal with its own maturing? From a kaleidoscope of individual pursuits, ethos and methodologies have emerged to encompass more distributed approaches. This transformation has taken place in parallel with changes in the dynamics and structures of culture, its institutions and constituencies. Artistic research maintains a productive dialectic between its potential status as discipline or as practice. It has developed topoi, tropes and its own canon of cases, texts and figures. How does it negotiate relationships with institutions, disciplines and bodies of theory while retaining the critical perspective of the artist?</p
Music Industry: The Individual Instruction Discipline
No full text[ABSTRACT ONLY; NO FULL TEXT] Business A needs to develop their technology usage in the modern-day music marketplace. Business A has two sub-businesses, Business B and Business C, that contribute to the music individual instruction discipline. This study is an in-depth analysis of the individual instruction discipline in the music industry. My group and I will learn what the estimated size and demographics in North America are for this corner of the industry, by identifying the Total Addressable Market (TAM), Serviceable Available Market (SAM), and Serviceable Obtainable Market (SOM). We will also understand the instructor's psychographics, and potential concerns they have with technology usage. As well as recurring obstacles and trends that keep resurfacing. Then, we'll learn how they utilize technology for their personal endeavors. Our approach to obtain the required information will consist of questionnaires, database sources, social media searches, and on-sight interviews with similar businesses. Furthermore, we will also examine raw data and statistics, academic/peer reviewed journal articles, case studies, and Scarborough data. We will also determine their top competitors across their corner of the industry. As well as understanding what their competitors are doing similarly or differently to have a competitive advantage. Lastly, we will highlight some challenges and risks we encounter to provide an all-inclusive view of our research
Yoruba Culture and Its Influence on The Development of Modern Popular Music in Nigeria
No full textThis thesis focuses on the contributions of the Yorùbá culture to the development of modern Nigerian popular music. It traces the origin, conception and growth of popular music styles in Nigeria and highlights the underlying Yorùbá cultural cum linguistic influence that nurtured their growth within the urban space of Lagos city. It examines how contemporary Nigerian popular music practitioners appropriate the Yorùbá culture in negotiating their musical and national identities and counteract popular music homogenization through the creation of hybrid musical styles and cultures. The work adopts a multi-dimensional research approach that involves cultural, musicological, historical, anthropological and socio-linguistical tools. Adopting the participant-observer method with Lagos as the primary fieldwork site, additional data were sourced along with interviews of key informants through bibliographic and discographic methods.
The study reveals the importance of Lagos as a major factor that contributed to the development of Nigeria‘s popular music practice as exemplified in genres like jùjú, fújì and afrobeat, and discovers that the Yorùbá language has gradually become the dominant medium through which artists express their musical identity as typified by current mainstream hip hop music. Extending earlier work by scholars such as Barber, Waterman and Euba and recent works in hip hop linguistics by Alim and Omoniyi, the thesis contributes to the growing body of research within popular music through the discipline of ethnomusicology, especially in the emerging area of academic inquiry into indigenous African hip hop culture
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Many spheres of music : hermeneutic interpretation of musical signification
No full textConsiderable interest has been shown in the field of music aesthetics in recent years,
not only by aestheticians but also by writers from diverse fields such as musicology,
psychology and linguistics. What we have witnessed in these discussions have been
not only painstaking analyses of music in terms of its aesthetic value, but also
explorations of music in relation to a varied range of research areas from examining
the relations between music and mind using psychological methods, through
evaluating music in terms of our post-modem notion of art, to exploring the relations
between language and music in terms of their semantic and semiotic characteristics.
Such accounts typically seek to show that music is more than mere sound, and, in
particular, several accounts focus on its expressiveness and its possibility of
conveying a certain significance
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