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Selling digital music, formatting culture
\"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.
Book
Selling digital music, formatting culture
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.
eBook
Modern music production equipment and how it can be used in student teaching: overture and its impact on motivation and interest in electronic music creation
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.
Journal Article
Research on the Application of Computer Music Software in College Traditional Music Course
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.
Journal Article
Research on the Application of Computer Music Software in Piano Rhythm Teaching
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.
Journal Article
On music production in mathematics teacher education as an aesthetic experience
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.
Journal Article
Estremo d'ombra: una scrittura elettronica interattiva
In Estremo d'ombra, for five soloists and electronics (2015), an interactive system was developed in order to enable the synchronisation between the performers and the live electronics--consisting of real-time processing and synthesis--to be composed in detail. This system led to the creation of a 'centralised' score for the electronics realised in the Antescofo programming language, which pilots electroacoustic processes executed in the SuperCollider and Max/MSP environments and displays scores for the performers in openFrameworks. The Antescofo system allows for the expression of temporally complex interactions involving the instrumentalists, rendering the composition of the real-time electronics more dynamic and expressive. This system eliminated the need for a conductor or a pedal of activation, thereby allowing the performers to interact and move more freely. The staging of the work is emphasised by lighting and a symbolic dramatic narrative. Keywords: Lara Morciano, Estremo d'ombra, live-electronics, Max/MSP, SuperCollider, Antescofo, synchronization, real time.
Journal Article
Generating Musical Performances with Director Musices
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.
Journal Article
Creating Sounds from Scratch
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.
eBook