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\"Selling Digital Music documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Exploring the emergence of what Morris calls the digital music commodity, Selling Digital Music considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies--Winamp, metadata, Napster, iTunes, and cloud computing--Morris questions how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CDs. The digitization of the music commodity connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture.\"--Provided by publisher.

Selling Digital Music, Formatting Culturedocuments the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the \"digital music commodity,\"Selling Digital Music, Formatting Cultureconsiders how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies-Winamp, metadata, Napster, iTunes, and cloud computing-this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all,Selling Digital Music, Formatting Cultureis a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.

Over the past decade, digital technology has revolutionized music creation, sharing, teaching, and learning, and it is evolving rapidly. There is a whole new process of music making through music games, programs, applications, and networked digital tools. To provide a comfortable learning environment for students and contribute to their high learning outcomes, the impact of such applications on students’ motivation and interest should be explored. The aim of the study was to investigate the impact of Overture score writing software on students’ motivation and interest in creating electronic music. The experiment involved 87 music students from [BLINDED] in China. For the study purposes, Overture was integrated into the course of creating and reading scores used for practical assignments. Via pre- and post-testing, the effect of its implementation on students’ motivation was determined. In sum, it was unveiled that the use of the Overture program increased students’ motivation by 14.3%, attention by 29%, confidence by 12.5%, and satisfaction by 12.4%, and this rise was significant. The deduction was made that Overture favored musicians’ learning motivation. The written participant surveys revealed a high interest in using Overture and a desire to continue writing electronic music with its help. The experiment results reinforce the findings of previous research in the field. It is possible that Overture will be able to advance students’ motivation while studying a number of other music disciplines where it may be applicable. Testing this assumption is seen as one of the future study directions. At the same time, it is important to continue research on the topic of the use of modern software and what impact computer-based music software can exert on students’ academic performance.

The traditional teaching mode of music course is still based on the theory teaching mode of teachers. It is difficult to give full play to the main position of students, which leads to the low learning enthusiasm of students and the difficulty to fully stimulate their interest in learning. Based on this, this paper first analyses the music knowledge and the application of music software, and then studies the commonly used computer music software in university traditional music teaching, and finally gives the advantages and specific utilization strategies of brain Music software in traditional university music course.

Computer music software plays a more and more important auxiliary function in the teaching process, and has been more and more widely used. However, the current computer software still has a large space for optimization. Based on this, this paper first analyses the difficulties of piano rhythm teaching, then studies the common computer software and hardware and its utilization process in piano rhythm teaching, and finally gives the utilization process of computer music software in piano rhythm teaching.

This paper addresses the integrated use of the arts and digital technology in mathematics education—specifically involving aspects of preservice teachers’ mathematical activity while engaging in music production, in pedagogic scenarios conceived of as aesthetic mathematical experiences (AMEs). Theoretically, the research evokes notions such as digital mathematical performance, aesthetics, humans-with-media, and musical theory. Methodologically, the study presents a pedagogic model for mathematics teaching and learning through music production; the model is elaborated using qualitative case studies in which preservice teachers (education majors and mathematics majors) created mathematical songs with music software. In their songs, the education majors explored place value and the mathematics majors explored progressions. The research highlights the mathematical ideas and the narrative nature of the lyrics, as well as the digital structure of the songs created collectively. The study also emphasizes aspects of thinking-with-music-software related to musical concepts such as intervals, note values, and harmonic fields. The results reveal that the AMEs offered ways for preservice teachers to think mathematically and aesthetically through the composition of the lyrics and by the creation of virtual instruments with music software.

Describes the Director Musices software, a program that tranforms notated scores into musical performances and incorporates knowledge derived from years of research in the Speech, Music and Hearing department at the Royal Institute of Technology in Stockholm. Summarizes a number of rules governing musical expression. States that the program attempts to model phrasing, articulation, and intonation to bestow a more lifelike demeanor upon an automatically performed score. Includes tables and illustrations.

A considerable body of research has examined stress and wellbeing in athletes (e.g., Arnold et al., 2017). In contrast, similar experiences in sports coaches have received considerably less attention although these are widely exposed to numerous stressors which can potentially influence their well-being and performance. In 2017, a meta-analysis (Norris et al., 2017) highlighted various stressors influencing the performance of coaches. These include external scrutiny from the public and media, the need to constantly maintain high standards during training and competition and organizational stressors relating to administration, finances, overload, and environment. Regarding the elite football setting specifically, coaches must regularly deal with stressors such as job insecurity (Bentzen et al., 2020) and cope with the stress and adversity associated to a highly pressurized workplace environment (Knights and Ruddock-Hudson, 2016). These stressors can cause anxiety, in addition to sleep disturbance, thus there is a clear need to help coaches find ways to deal with such difficulties. In clinical health settings, music-based therapeutic interventions are systematically shown to help improve sleep quality (Chen et al., 2021) and anxiety levels (Umbrello et al., 2019). In sports settings, listening to music demonstrated a positive effect in reducing pre-competition anxiety levels in a cohort of elite shooters (John, Verma, Khanna, 2012) and amateur athletes (Elliott et al., 2014) respectively. Yet to our knowledge no study has investigated the potential benefits of music in sports coaches. In this preliminary study, we investigated 1) the feasibility of implementing a novel smartphone music application in a cohort of elite soccer coaches, and 2) its effectiveness in helping them fall asleep and reducing anxiety levels. A total of 10 elite French soccer coaches (age 28.4 ± 3.9 years, working in clubs belonging to the 4 highest standards of football in France: Ligue 1: n=1, Ligue 2: n=3, Division 3: n=1 and Division 4: n=5) were invited to participate in the present study which was also proposed as part of their personal development plan during a year-long elite coach development course. Prior to their inclusion, participants were informed about the implementation of the study by means of an information document and oral presentation by the research team and were asked to sign an informed consent form to participate. The participants were asked to download the music application (Music Care©, Paris, France) on their personal smartphone/tablet and provided with a headphone set. This music application is typically used in health care settings (see www.music-care.com/en/clinical-evidence.html for list of related research works) and offers personalized music listening according to the patient’s therapeutic need (pain, anxiety, sleep) and musical preferences (e.g., classic, jazz, traditional…). The music sequences (each 20min duration) aim to progressively bring the user into a state of relaxation, and naturally treat pain, anxiety, and sleep disorders. Each participant was instructed to use the application at home in the morning on waking up (choice of anxiety or awakening session) and in the evening prior to falling asleep (sleep session) over a 1-month period. They were asked to record the date, time and duration of each session in a personal diary. Following the sleep session, participants were also requested to respond to the question: did the session help you to fall asleep: yes, no or I don’t know? Finally, immediately before and at the end of each anxiety/awakening session, participants used a Likert scale to rate their current anxiety level (0=no anxiety to 10=maximal anxiety). Data are presented as means, standard deviations and range values unless stated. Owing to the non-normality of the dataset collected for the pre-post session anxiety score ratings, Wilcoxon’s signed-rank non-parametric test was used to compare mean data (significance level, p<0.05). Cohen’s Effect Sizes were also calculated and classified as trivial (<0.2), small (>0.2–0.6), moderate (>0.6–1.2), large (>1.2–2.0) and very large (>2.0–4.0). The BiostaTGV (INSERM, France) package was used for all statistical calculations. Results showed that out of the 10 participants, two did not choose to download the application while among the remaining 8, 2 did not record any information on their music sessions. Regarding the 6 remaining participants, half completed at least one session per day over the 30-day period while an average of 25 sessions were completed per participant (range: 18 to 29). In total, 150 sessions were completed by the participants of which 64% (n=96) were used to aid sleep, 19% (n=28) anxiety and 17% (n=26) wake-up respectively. Each music session was completed in its entirety (20mins duration) on 99.3% occasions. Of the 96 sleep-related sessions completed, 62.5% (n=60) were considered by the participants to have aided them in falling asleep (Figure 1). The comparison of anxiety levels demonstrated a significant reduction in mean values for the pre- versus post-session scores: 6.0±1.0 vs. 4.3±1.5, -28%, p < 0.0001, effect size=1.2 (large). To the best of our knowledge, this investigation is the first to report the feasibility of implementing a novel therapeutic music smartphone application in a group of elite soccer coaches and determine its effects on their current anxiety levels and helping them fall asleep. Altogether, 40% of coaches (4 out of 10) chose not to use the application which is greater than the 20% drop-out rates frequently reported in randomised controlled studies. However, half of the 6 remaining participants completed at least one music session per day over the 30-day period while an average of 25 sessions (with nearly all listened to in their entirety) were completed per participant demonstrating in our opinion a satisfactory level of feasibility. The coaches most often chose sleep sessions (64% of the total) of which nearly two thirds were considered to have helped them to fall asleep. Anxiety sessions were less frequently utilised but nevertheless helped to significantly reduce the coaches’ current anxiety levels (-28% reduction). These positive results follow those observed in clinical health settings (Chen et al., 2021; Umbrello et al., 2019) and athletes (Elliot et al., 2014, John et al., 2012). As such, we suggest that music can be used by elite soccer coaches as a tool to aid anxiety and falling asleep. Further research is nevertheless required to determine why not all the coaches used the application or tended to use it for sleep rather than anxiety purposes. Similarly, a stronger experimental approach employing a longitudinal randomized controlled study design, a larger sample size to increase statistical power in addition to inclusion of qualitative (e.g., questionnaires) and quantitative (e.g., physiological responses) metrics is necessary. We estimate that to achieve a statistical power level of 90%, a sample size of 62 participants (accounting for a 20% drop out rate) would be necessary for a future randomized controlled study.

Creating Sounds from Scratch is a practical, in-depth resource on the most common forms of music synthesis. It includes historical context, an overview of concepts in sound and hearing, and practical training examples to help sound designers and electronic music producers to effectively manipulate presets and create new sounds from scratch.