Music and Technology

The aim of this research was to explore whether the use of mobile technology contributed to develop thinking skills, learning and musical performance. The population included students with a BA and MA degrees who participated in the 'Composition and improvisation in real-time' course. They used technological-musical tools (Ableton Live and M4L), turning computer, tablet devices and smartphones into a 'laptop ensemble'. The research method included questionnaires that were given to students at the beginning and end of the course and in-depth interviews with students during and after the course. Findings indicated that the pedagogic model studied, which examined an innovative teaching-learning strategy, established digital-musical literacy and led to meaningful learning, while experiential experience during musical performance in the group.

The Oxford Handbook of Global Popular Music offers an authoritative and state-of-the-art survey of current thinking and research in studies of global popular musics from different parts of the world. The essays in this volume are written by leading international figures and music insiders from ethnomusicology, popular music studies, anthropology, and other disciplines studying music to give critical examinations of the progress and direction of debates surrounding global popular music. The essays will not merely constitute summaries of previous research but cover genuinely new ground in this emerging field of enquiry.

In academic and journalistic studies, “popular music” often has its “official” beginnings in the 1950s, and its discourses have been preoccupied with a canonical focus on American and British white and “black” popular music. Discussions of popular music outside the West are predominantly (but not exclusively) the domain of ethnomusicologists and anthropologists, who have since the 1980s began to focus their attention on global popular music due to the dissolution of the holistic concept of culture, the emergence of popular music studies in the 1980s, and the globalizing trends and processes that impacted on the traditional music they were typically studying. Consequently, ethnomusicologists and anthropologists began to incorporate insights from popular music studies and shifted their attention to music cultures created out of diaspora and hybridity, migration, urbanization and mass media, while popular music scholars have in turn widened their attention to popular music outside of Europe and the US (although probably lesser so). Since the 1980s, studies of global popular music have surfaced in academic writings by ethnomusicologists, popular music scholars, and others, notably Peter Manuel’s milestone publication _Popular Musics of the Non-Western World: An Introductory Survey_ (1988), and, later, entire compilations or book series dedicated to world popular music (Routledge Global Popular Music Series, The Bloomsbury Encyclopedia of Popular Music of the World, Continuum Encyclopedia of Popular Music of the World, Equinox Transcultural Music Studies series). The conception of the academic _Journal of World Popular Music_ represents another recent milestone in this area of study. There has also been a trend toward developing academic programmes of study with a focus on global popular music. For example, SOAS University of London has offered an entire BA in Global Popular Music since 2018, while many popular music and ethnomusicology programmes in the US, Europe, and (increasingly) Latin America, Africa, and Asia offer an element of academic study in global popular music. The upsurge of student textbooks with a focus on global popular music is further testament to a growing academic interest in this area of study, while postgraduate research by young people, who are truly the product of the era of globalization, is increasingly likely to focus on popular music expressions in different parts of the world as these are shaped by global hegemonic capitalism. In the commercial sphere, the global popularity of genres like hip hop, J-Pop, K-Pop, electronic dance, and others, along with the global spread and hegemony of the American-European pop-rock aesthetic, are a clear indicator of the likely growth of academic interest in global popular music.

The Oxford Handbook of Global Popular Music captures the vibrant, dynamic, and diverse approaches that characterize popular music across the world. The volume features a diversity of topics and approaches, structured into five conceptual parts: Capitalism; Genres; Migration; Identities; and Technology. The purpose of the organization is to give a comprehensive review of achievements by leading scholars in the field of global popular music to date, and to contribute to an understanding of what global popular music might become in future, charting new areas that are likely to define studies of global popular music in the coming decades. Since the 1990s, and with the emergence of digital technologies and the internet, global popular music is marked by increased stylistic diversification in accordance with trends globally and locally. Along global trends, for instance, diversification is manifested by global electronic music, hip hop, or global Bollywood. Local stylistic trends, meanwhile, rendered the Anglo-American mainstream less relevant to global popular music cultures, instead maintaining their “own” vernacular popular music. In some instances, artists have occasionally produced their own variants of global stylistic patterns and successfully forayed into the global field, such as the teen pop idols of K-Pop and J-Pop in the 1990s and 2000s. International world pop stars, who also became part of the World Music craze in the West, are further examples of local musicians who have entered the international field of popular music with occasional success. All of this development underpins the structure of the volume: The part GLOBAL CAPITALISM serves as a broad placeholder to describe essays that capture the economic contexts in wich global popular music has developed and been shaped. Under GLOBAL GENRES are essays that capture “big” or “global” popular music genres as they have gained global popularity and recognition. MIGRATION features essays that engage with the way that geopolitical movements of migration resonate in the memories of migants and are manifested through popular music. The part on IDENTITY will feature essays of selected global popular music that critically engage with and further our understandings of class, gender, LGBTQ, race/ethnicity, nationalism, disability, health, and religion (Islam). The final part, TECHNOLOGY, will contain essays that focus on people’s engagement with recording, broadcasing and other technologies, and the impact of digital technologies and the internet on the increased stylistic diversification musically.

This research addresses the unquestionable importance of sound, often ignored, in the creation of architectural spaces. Specifically, ways of reinventing spaces that adapt to the needs of experimental electronic music are investigated, for whose execution specific spaces that are far from traditional venues such as auditoriums, or conventional bars or pubs are necessary. And it is that electronic music is unique in the sense that the sound heard is sensational as a result of the combination of classical music sounds, sounds of nature, voices, sounds of various instruments, etc... Sounds that have the ability to transport the listener to a world full of magic, where everything is possible, where we are one. At present, the rise of this musical genre that mobilizes masses, requires the creation and acoustic conditioning of new spaces, or the substantial improvement of already existing ones, so that the musical experience lived in them is complete, causing on the listeners a multiplicity of unforgettable sensations.

This article offers a look into how technological advances have changed music in the industry, in society, and in education and seeks to find a solution to the misaligned between the two. People experience music in a dramatically different way than previous generations and the education must evolve alongside this to avoid becoming irrelevant. Barriers to composition are being broken down with new technologies and the development of a participatory culture has changed the way people interact with music and musicians. This article discusses ways that technology is being brought into the classroom and offers solutions to assist music educators and classroom teachers with integrating technology into the music classroom in a way that reflects students out-of-school experiences in order to make music education at primary school more engaging and relevant to the students’ lives.

The curious link between Bach’s music and psychopaths in English-language film traces back to at least "Dr. Jeckyll and Mr. Hyde" (1931) and "The Black Cat" (1934), but this cinematic trope regained horror credibility in the late twentieth century with Dr. Hannibal Lecter in "Silence of the Lambs" (1991). Lecter’s creator, author Thomas Harris, gave his cannibalistic serial killer preternatural intelligence and a taste for fine culture, including the keyboard works of Bach, most notably the "Goldberg Variations." Scholars and fans alike have investigated almost every aspect of Lecter’s persona, including his musical preferences, yet a broader question arises: how exactly did we get to Lecter’s Bach?  What cultural factors—musical and otherwise—might have influenced Harris to fix on Bach, Gould, and the "Goldberg Variations" specifically for his supervillain?

This investigation considers significant events of the postwar period that likely played a role in the evolution of the Lecterian Bach: 1) The modernist turn in Bach reception, performance practice, and recording in the United States between 1945–1968, including how the sensational albums of Glenn Gould and Wendy Carlos reflected postwar technological optimism and also renewed appreciation for Bach’s “intellectual” creative language; 2) The twentieth-century cinematic association between Bach’s music and destructive drives, particularly as redefined from the early 1970s via the use of Variation 25 in "Slaughterhouse-Five" (1972) and "The Terminal Man" (1974), films that frame technology in more morally ambivalent terms as a lethal tool of human will to power and scientific overreach; and 3) The postwar boom in computer science and the significance of Bach’s music to related discourses such as the development of artificial intelligence. All of these threads intersect with a phenomenon of modern, industrialized American culture that Mark Seltzer describes as “techno-primitive,” an integration of the life process and machine process “such that the call of the wild represents not the antidote to machine culture but its realization.” As a super-human genius who kills like a machine, Lecter undeniably represents the techno-primitive, but his cultured intellectualism (including his love of Bach’s music) taps into postwar popular understanding of the composer’s work as the highest expression of musical logic, ideally suited to the technological age.

Música y músicos hay muchos en México, y a la par de la promoción turística la difusión del talento local podría ser un valor añadido que ofrecieran los destinos nacionales.
Se trata de una posibilidad interesante y poco explorada como producto turístico, ya que la diversidad que existe en el país ha difuminado o desdibujado en apariencia los esfuerzos por promover la música como una aliada para el turismo.
Esto genera un debate a nivel académico y social poniendo en perspectiva la idea de difundir y promover productos turísticos al tiempo que se les genera, o conservar manifestaciones culturales invaluables sin alterarlas.

There are a lot of music and many musicians in Mexico; along with the promotion of tourism, promoting local talent could be a plus that offer the national destinations. As a tourist product, this is interesting and relatively unexplored, thus the diversity that exists in the country apparently blurs the efforts to promote music as an ally for tourism. This generates an interesting debate at academic and social level, and puts in perspective the idea of disseminating and promoting invaluable cultural manifestations as tourist products or preserving them without alterations.

An Analysis of the Cultural Influences That Shaped Detroit Techno explores the ways in which the social, economic and aesthetic surroundings of a generation of young people living in Detroit inspired a new musical genre that we now know as Detroit Techno. Specifically, a sound that is driven by the rising and falling fortunes of technology; how the noises and rhythms of the machines the city’s automobile industry was built around inspired music, how this music was appreciated in other parts of the world that were experiencing similar social and economic changes, and how new technologies allowed for the creation and dissemination of Detroit Techno on a global scale. To do so, An Analysis of the Cultural Influences That Shaped Detroit Techno focuses on the experiences of Detroit in the late 1970s and 1980s of three of the genre’s foremost pioneers: Juan Atkins, Derrick May and Kevin Saunderson, and the musical and environmental influences behind their early experiments with techno.

This article explores questions of music use, commodification, and online surveillance in cloud-based music streaming services. Key catalysts in the transition from ownership- to access-based models of music distribution, services like Pandora, Spotify, Deezer, and others have positioned themselves as a means whereby listeners may be reintegrated into a “digital enclosure,” a space over which rights holders can exercise greater control. Yet online streaming’s promise of remonetizing musical commodities previously demonetized by practices of file sharing has been called into doubt by difficulties in converting users of advertising-based “freemium” services into paying subscribers. This has impelled Pandora, Spotify and others to develop alternative means of extracting value from users. Streaming sites have thus transformed into enterprises whose business is not limited to the sale of music-related services, but relies increasingly upon the collection, aggregation, and exchange of user data.

A key issue this article pursues concerns the changing status of music within the commercial strategies of online streaming. While previous research has indicated how various features, functionalities, and interfaces serve to distinguish competing services, less attention has been paid to the way they position themselves vis-à-vis other new media companies also trading in user data and user-commodities. Notable in this respect is how music figures into marketing campaigns directed not at consumers, but at prospective advertisers and investors. Close examination of music’s representation in such marketing discourse underlines how it too has been transformed by the logic of user monitoring and commodification. Such discourse casts music as a medium that offers streaming services, advertisers, and data brokers privileged access to listeners’ innermost selves. But it also casts music as an ideal tracking device, pervading our everyday lives, insinuating itself into any and every activity, and accompanying individuals across the social, physical and geographical spaces they traverse. In this way, the very attributes that make music so powerful as a “technology of the self” facilitate its transformation into an equally powerful technology of surveillance.

This thesis consists of an ethnomusicological approach to the development of Controllers as musical instruments, and conceptualizes Controllerism as a musical practice. I make a case for a revision in organology that includes Controllers, and other instruments of the computer society, by seeking out commonalities and providing comparative analyses between historical instruments and modern Controllers. I then provide definitions of the term Controllerism; by discussing its origins, history, musical logics, strains of musical practice, and current technological explorations. By situating the Controller and Controllerism in a cultural and historical timeline, I have traced informing logics that have led to the development of this new instrument and musical practice. Ethnography has been undertaken with informants from Europe, America and Japan in order to ascertain generalized understandings of the instrument and musical practice; and participatory action research undergone in three separate artist residencies with the intent of determining common perspectives and concerns of international Controllerists. A Portuguese case-study has provided a unique glimpse, by comparison, of this emerging art-form and growing mind-set in modern music.

Recent years have seen not just a revival, but a rebirth of the analogue record. More than merely a nostalgic craze, vinyl has become a cultural icon. As music consumption migrated to digital and online, this seemingly obsolete medium became the fastest-growing format in music sales. Whilst vinyl never ceased to be the favorite amongst many music lovers and DJs, from the late 1980s the recording industry regarded it as an outdated relic, consigned to dusty domestic corners and obscure record shops. So why is vinyl now experiencing a 'rebirth of its cool'?

Dominik Bartmanski and Ian Woodward explore this question by combining a cultural sociological approach with insights from material culture studies. Presenting vinyl as a multifaceted cultural object, they investigate the reasons behind its persistence within our technologically accelerated culture. Informed by media analysis, urban ethnography and the authors' interviews with musicians, DJs, sound engineers, record store owners, collectors and cutting-edge label chiefs from a range of metropolitan centres renowned for thriving music scenes including London, New York, Tokyo, Melbourne, and especially Berlin, what emerges is a story of a modern icon.

Endorsements & Reviews:

“Vinyl is a state-of-the-art treatment of an unforgettable object and medium that raises many of the issues central to contemporary anthropology. Its subject-matter should make it appealing to students and general audiences, while its theoretical sophistication makes it relevant to scholars of music, technology, popular culture, and cultural objects.” –  Jack David Eller, Anthropology Review Database

“Bartmanski and Woodward have created a masterpiece that any record lover should have on their shelves” –  Record Collector magazine

“Bartmanski and Woodward … provide meticulous detail as to how materiality matters … Bartmanski and Woodward divide their book into chapters that fervently trace various aspects of vinyl: its history, its functionality and use as a medium, its production and physical properties, and its consumption. In each chapter, they attend to the materially mediated cultural meanings within which vinyl is entangled.” –  Robin Bartram, Northwestern University, Qualitative Sociology

“Vinyl culture is back, and it’s even more vibrant than it was in its heyday, before digitalization. Bartmanski and Woodward take us to the epicentres of this revolution, and let those who are behind it tell us about their passions for this iconic medium. This is an exemplary study of the social and sensory life of things." - David Howes, Professor of Anthropology, Concordia University, Montreal, Canada

“In the age of the digital, with the ubiquitous smart phone and MP3 technologies providing consumers with instant access to global sounds irrespective of where they are, Vinyl explores the persistence of an old technology within the production and consumption of music. In doing so it demonstrates the complex ways in which material objects form a meaningful part of our everyday lives – not just through the sounds of vinyl but by how it feels and looks. The text is beautifully written, impassioned, yet critical. Welcome to the world of the post-digital.” –  Michael Bull, Professor of Sound Studies, University of Sussex, UK.

“A passionate ode to the analogue record, and testament to how vinyl embodies the content it mediates, with each record's unique journey etched into the material” –  Hillegonda C. Rietveld, The Times Higher Education

Remixing and mash-ups have become part of the regular new media arsenal for creating public political statements. They do not, however, get much scholarly attention of social media as avenues for political protest, or as vehicles for facilitating protest community expression, as have Twitter or Facebook as community building and expression tools in the Arab Spring uprisings or the #Occupy movements. This essay will explore the intersection of political protest and mash-up videos at the locus created by John Lennon’s “Imagine.” I locate Lennon’s song in his anti-war activities of the late 1960s and early 1970s. I further explore its application in the first decade of the 21st century through new media technologies using the legend of Lennon the activist. Because of this history, Imagine, and the remixes that build from it, are vehicles through which to explore the role remixing and mash-ups play in political movements in a social media world. I argue that this lack of attention comes partly from the requirement for technological sophistication on the part of remixers. Despite this lack of recognition, mash-ups and remixing can be quite successful at articulating specific issues and/or addressing particular constituencies as they are used by professionals who channel the views of the protest community. I explore such possibilities using the case study of CalTV and WaxAudio’s collaborative mashup “Imagine This,” and discuss ways that this use of “Imagine” has evolved in the years since “Imagine This” was publicly released in 2006.

Un libricino del 1999 costituito da tre sezioni più un'introduzione e una conclusione: la prima di carattere metodologico sulle ragioni di una sociologia della musica registrata; la seconda, più teorica, sulle implicazioni estetiche e sociologiche del disco (fortemente influenzata dal libro di Eisenberg, L'angelo del fonografo, che avevo appena tradotto); la terza sulla fenomenologia dei principali media musicali, dal juke-box al sound system, dall'autoradio al walkman

This article contextualises music technology within the Hip Hop tradition of beat making. While literature exploring music technology in music therapy has proliferated in recent years, much of this has focused on the “assistive” function of technology, where it is used to facilitate music making for clients who have limited access to playing acoustic – or non-tech-based – instruments. This paper argues for an alternate lens that positions music technology within the tradition of beat making and that this is a musicing practice of value in its own right. To do so, a brief historical account of the beat making tradition is provided, which locates its origins within Hip Hop culture and acknowledges the evolution of the myriad beat-based genres that have and continue to emerge around music technology. A basic typology of beat making equipment is then provided to foster greater understanding of these technologies as instruments in their own right and their role in shaping contemporary music. To account for the rapid innovation in this area, the typology focuses on pieces with historical significance and the primary functions that remain the building blocks of composition and performance in beat making to this day. Brief accounts of how these instruments can and are integrated into therapeutic practice are also provided. It is acknowledged that this paper itself represents only one, brief account of beat making traditions and instruments. Yet, it is hoped it will promote understanding of their significance and serve as a useful reference in helping practitioners consider how these instruments may enrich practice. It is argued that such consideration is not only useful, but critical for reasons of cultural sustainability, and ensuring the relevance of music therapy practice in the 21st Century.

The Learning Process of Three Electronic Music Producers of Dance Floor
Eliza Vazquez
This work has focused on understanding the learning process of three producers of electronic dance music, they
belong to the underground scene of Brasilia. Around this theme we are looking for to understand how those
producers to get the learning process. The ethnographic case study was the chosen methodology, where the
observation environment is the dance floor and the social network sites are the producers. It was noticed that the
three built their knowledge independently, exchanging experience among peers, searching for information in
cyberspace, on the track (such as a DJ or goer) and making use of manufacturing technologies for learning how to
104
produce. On the track the producer interacts both as a DJ and as goer and these experiences are moments of
analysis and expansion of repertoire, where he sees the reaction of the runway to the sound elements of music and
seeks to understand the best way to compose for this context. The producer uses cyberspace to publicise their
work, buy songs, search, share information and receive feedback from their productions. Their listening is active,
seeking to recognise styles, tones, shapes and constructs sets. Through cyberspace they foster the scene, exchange
information and music, expand knowledge and establish relationships between other producers, DJs and patrons
of the scene.
Involvement with the production technology is key to building these knowledge producers, and computer software
are the tools used to build their music, and as they understand the logic of the program they can better produce.
Their knowledge is built into do during sound manipulation, letting himself be guided by listening, the producer
builds his music, evaluates and modifies if necessary, in a dynamic process of production and learning. This
interweaving of experiences in a non-formal learning space opens reflections for music education in formal
education, which should seek a teaching methodology that understands cyberspace and the dance floor as places
of learning, proposing specific activities and experiences in these environments, as well as understand the
importance of experimentation and different music software, leaving the listener to guide the composition,
developing a critical perception, active and creative.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at jmailman@alumni.uchicago.edu
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

In many of his texts and interviews Gérard Grisey emphasized that spectral music draws its properties out of the nature of sound itself. This implies a tendency towards purism and a rigorous criticism of any reference to levels of signification and meaning. A closer scrutiny of Grisey’s music shows, however, that this apparent opposition can be questioned in several ways. Grisey’s musical thinking can be localized on the threshold between sound and meaning – it is a »liminal« music (musique liminale). Analytical comments on Grisey’s L’icône paradoxale for two female voices and orchestra (1992–94) exemplify this.

Please see:- https://chrisdooks.bandcamp.com/album/lessons-learned-in-the-k-nigsforst-pdf-2015 for related piece, inc free audio download.

This text is a transcript of a spoken word piece of the same name from The Environmental Arts Festival Scotland 2015 - with the addition of an interview between the author and composer/visual artist Wolfgang Voigt.

Questo articolo è focalizzato su Atomi distratti, un lavoro per ensemble e live electronics del compositore italiano Mario Garuti, ed è organizzato su tre differenti livelli:
1. analisi poietico-estesica del brano;
2. presentazione dell’ambiente esecutivo del live electronics approntato per la prima esecuzione;
3. elaborazione di un algoritmo di sintesi in ambiente Max/MSP per l’esecuzione della parte di tastiera elettronica.
Dopo una breve introduzione in cui si chiarisce l’idea all’origine delle scelte musicali operate nel brano, viene precisata la metodologia di approccio all’analisi.
Il primo livello include un’analisi dei cambiamenti contrastivi in cui viene mostrato come, in Atomi distratti, a un’organizzazione gerarchica debole (Imberty) corrisponda un’esperienza del tempo musicale coesa e unitaria, attraverso cui la rappresentazione simbolica e fantasmatica sottesa al
brano (proprio la frammentazione del tempo interno, mise en abyme dell’ipotesi stessa) viene trasmessa integra ed intelligibile. Al fine di ottenere un tracciato delle immagini linguistiche, poetiche, musicali ed extra-musicali all’origine
del brano viene utilizzato il mezzo dell’intervista, in cui il compositore è chiamato in prima persona a indagare il proprio lavoro.
Il secondo livello include due sotto-livelli: in primo luogo viene data descrizione del materiale pre-registrato e del suo ruolo nell’economia del brano, quindi una descrizione tecnologica dell’ambiente esecutivo del live electronics di Atomi distratti si accompagna a un’osservazione comparata longitudinale delle opere di Mario Garuti che includono in organico il mezzo elettronico, al fine di chiarire il ruolo del live electronics all’interno del brano e l’evolversi del rapporto che il compositore modenese intrattiene con l’elettronica nei suoi lavori. Anche in questo caso l’intervista è lo strumento privilegiato per accedere al mondo interno del compositore.
Il terzo livello è strutturato a partire da una traduzioneinterpretazione in termini tecnologici delle descrizioni, registrate utilizzando il mezzo dell’intervista, che il compositore fornisce dei due preset di tastiera elettronica presenti in partitura. Di seguito viene descritto il progetto per lo strumento di sintesi, della cui realizzazione in ambiente Max/MSP si dà descrizione nel paragrafo conclusivo

The aim of this study is to inform the individuals who will prefer music technology education in our country, to give information about the career steps that they may have in the future and to discuss what career stages they might have after graduating from their department. In addition, a subordinate purpose of the study is to determine the qualities that the technologist candidate prepared for music technology should have and to help them to prepare appropriate for these qualities. It is one of the biggest misconceptions encountered today that music technology education is only concerned with dealing with voice recordings or with tone. As a result of this study, it is tried to be explained that the related education is divided not only into these two areas but also to more than one sub-area. For this reason, discussions were held on what should be the career orientations of the music technology that benefited from the ideas of Phillips (2013), Middleton (2008), Wells (2001), Hosken (2011) and D'Escriv'an (2012). The method used in this study contains qualitative research methods as well as literature review.
As a result of this research, music technology education has been seen as an indispensable element in today's music industry and it has resulted in a wide range of fan business opportunities from music supervisor, music composer, foley artist to music technologist who is not only on voice recording and tone recording. What was done by the professional music technology, what arguments were required to be a music techno, information in the record studio, live broadcast, on film and television, digital media, sales and support. In this study, 5 basic fields were emphasized in the career of music technology.These are Recording Studio, Live Broadcast and Recording in PA Systems, Film and Media, Digital Media, and finally Music Technology in Sales and Support.
As a result of the study, it is concluded that preliminary studies have been completed that individuals who plan career in the field of music technology education will have more knowledge about their fields of study.

Keywords: Music Technology, Music Technologist, Recording Engineer, Music

The premises of early spectral music can be differentiated from integral serialism through its inherent characteristics. Composers such as Pierre Boulez, Karlheinz Stockhausen, and Luigi Nono operated with discrete elements which they integrated into structural forms. In contrast, the sound continua of Gérard Grisey, in works such as Espaces Acoustiques, were inspired by theoretical and artistic approaches, such as Henri Bergson’s philosophy of duration and Jean-Claude Risset’s exploration of timbre. In this essay, Hugues Dufourt asserts that the paradigm of sound continua should not be conceived as an inevitable accomplishment of the dialectic movement of music history, but as a new approach informed by computer science. As a result, he identifies Grisey as one of the great innovators of musical time.

It seems clear that the global appeal of Jamaican popular music over the last several decades stems in part from the premium its makers have always placed on innovation. There are two sides to this coin: musical-stylistic innovation and technological innovation. As Jamaican music has continued to evolve, the latter has arguably come to overshadow the former, especially when viewed and interpreted from the outside; and understandably so. After all, few other countries have contributed as much as Jamaica to the technologically based reconfiguring of the global popular soundscape that started to gain momentum during the last few decades of the 20th century. From its birthing of a technologically sophisticated sound system culture that has spread to urban areas in many parts of the world to its revolutionizing of recording and remixing techniques in ways now taken for granted elsewhere, Jamaica, despite its disadvantaged economic and technological position in the world system, has consistently been at the forefront of musical modernity in recent years. What accounts for Jamaica' s cutting-edge status in the world of popular music? And do the ultramodern ways of making popular music in Jamaica in recent times have anything to do with the country' s musical past? This presentation explores the frequently broached, but seldom elaborated, question of how, if at all, Jamaica' s latest, technologically-driven sounds relate to its ancestral musical culture and the generations-old traditions that constitute it.

This independently published text was published as a special, limited edition of Department of Public Sound #2 (booklet) and includes a vinyl record with recordings of ‘The Weekend of Adventure’ during the sixth edition of the Opera Days Rotterdam (27-29 May 2011). The text elaborates on my notion of 'radical vocality' on the stage through associated theories and concepts of extended voice. As this text was commissioned by the experimental art centre De Player in Rotterdam in the context of the Opera Days Rotterdam (Operadagen Rotterdam), I develop my ideas through concrete examples of vocal performance artists and operatic experiments from the 'Who’s Afraid of Modern Opera' late night event at De Player. After a brief clarification of the notion of radical vocality and its recent history, I focus on the theory of the disembodied voice and its related notions (virtual, disembodied and ventriloquist voice). I discuss these theories in relation to the philosophically much contested split in the voice between body and language (as suggested by Michelle Duncan). I then open these theories up to an understanding of auditory space and the territorial implications of 'autonomous' sound in the experience of the listener through a discussion of the work of vocal performance artists seen at the Opera Festival in Rotterdam: American artist Charlemagne Palestine, German composer-author Frieder Butzmann, German vocal performer/composer Alex Nowitz and American singer/performance artist Stephanie Pan.

The Internet and modern-day technologies have changed the way people connect with the world around them. The music industry is one of the areas that is undoubtedly affected by the Internet. Music technologies have faced a drastic reorganization process due to the digital revolution that changed the way people consume, source, listen, purchase, discover, experience, produce, read and learn music. These technological advancements have induced great changes for artists, listeners, and producers. This study will attempt to investigate the business models of digital music that can be profitable in the future. As previous studies suggest (Arditi, 2017), with the introduction of the technological revolution the whole revenue mechanism has shifted. This study attempts to give insight into the changing revenue mechanism of how musicians, record labels, make money from digital music by analyzing the digital music business models from the perspective of the consumer, the record labels and the artists.
The fundamental questions this study attempts to address are a) how technology has changed by presenting an overview of the music industry, b) what kind of digital music business models exist by analyzing their effects from the perspective of the listeners, artists and record labels, and c) what happens if the business model does not meet the demand of the users by explaining the ‘piracy’ phenomenon.
The present research seeks to identify where digital music services in the contemporary era are heading, to investigate the effectiveness and operation of digital music services and to offer implications about what can be expected in the future.
To answer the given research questions, the literature on related topics suggests that both a quantitative and a qualitative approach are considered as the necessary methods for the present study. In the first phase, drawing on relevant literature review qualitative analysis is used to present the theoretical background for the thesis. In the second phase quantitative analysis is utilized. The primary tool is the questionnaire, which contains three sections of questions. The first section focuses on the personal background of the participants, determining the type of the person under examination. The second section includes questions regarding music consumption habits. The last section analyzes listeners’ perception towards piracy phenomenon. As an artist, I will also myself make empirical analysis based on my observations and experiences during my work with Sony Music Turkey in 2015 in the conclusion.

La pratica della registrazione sonora, diffusasi in Europa e negli Stati Uniti tra la fine del Diciannovesimo e l’inizio del Ventesimo secolo, rappresentò una novità tale da portare alla ridefinizione di molti aspetti legati alla vita musicale contemporanea, quali il sistema produttivo, le abitudini di ascolto e persino il concetto stesso di evento sonoro. La possibilità rivoluzionaria di fissare e riprodurre i suoni venne quindi accolta, osservata, apprezzata, ma anche rifiutata e temuta nei circoli culturali dell’epoca, dove si iniziò a discuterne natura e possibili applicazioni. Questo volume ricostruisce il percorso della riflessione fonografica in Italia dagli albori del Ventesimo secolo fino allo scoppio del secondo conflitto mondiale, indagandone le cause e seguendone poi il diramarsi in differenti narrazioni. Attraverso un ampio spoglio di pubblicistica coeva è ricostruita all’interno del libro l’evoluzione socio-culturale del suono riprodotto: ne scaturisce un quadro multidisciplinare e composito, che connette tra loro elementi e protagonisti della cultura italiana primonovecentesca, tra cui i filosofi crociani e i pionieri dell’etnografia italiana, ma anche l’avvento della radio e del diritto d’autore nonché numerose personalità di spicco del ventennio fascista. Attraverso la lente della riflessione fonografica italiana il libro aggiunge così un tassello ulteriore alla storia culturale italiana di inizio secolo.

In questo articolo si opera un’analisi di Anthèmes 2, un
lavoro di Pierre Boulez datato 1997 per violino e dispositivo
elettronico della durata approssimativa di 20
minuti. Il brano del compositore francese, di estrema rilevanza
per ciò che concerne la storia della composizione legata
all'uso delle nuove tecnologie, è stato fatto oggetto di
analisi musicale e tecnologica condotte sulla partitura al
fine di individuare le strategie e i processi compositivi
messi in atto. I dati emersi sono stati in seguito posti a
confronto con le dichiarazioni del compositore: la sostanziale
concordanza tra queste ultime e le evidenze analitiche
ha permesso di costruire un quadro integrato di inferenze
circa l’approccio bouleziano al live electronics,
evidenziandone linee guida (asimmetria nel rapporto tra
strumento ed elettronica; monodirezionalità
dell’interazione; funzione demiurgica del compositore;
utilizzo della ridondanza all’interno di una drammaturgia;
finalità costruttiva del dialogo tra funzione mimetica/
elettronica e funzione diegetica/materiali strumentali) e
finalità (manipolazione mirata dei meccanismi psicologici
della fruizione). Ampia parte delle dichiarazioni rilasciate da Boulez in
occasione della prima esecuzione del brano (21 Ottobre
1997, IRCAM, Parigi) al filosofo e musicologo francese
Peter Szendy è stata appositamente tradotta in italiano e
inclusa in appendice.

Group for Advanced Studies in Music and Cyberculture
SOCIMUS Advanced Studies in the Sociology of Music
CESEM (Center of Sociology and Musical Aesthetics)

Team: Paula Gomes Ribeiro, Júlia Durand, Joana Freitas, André Malhado, Marcelo Franca, Filipa Cruz, João Silva, Vasco Completo, João Porfírio, Rodrigo Lourenço

CysMus is a research group that brings together researchers and students with a common interest: the exploration of different musical practices and interactions in the current setting of the Internet of Things. The group's theoretical basis actively seeks to be interdisciplinary, so as to form an adequate framework for the complexity of the objects and processes studied.
With that purpose in mind, it includes perspectives and methodologies of musicology, sociology and anthropology of music, game studies, cultural studies, digital studies, media and communication studies, film music studies, narratology, among others. CysMus is part of the wider group SociMus, dedicated to the research of a great variety of musical practices according to precepts and tools of music sociology.
The group's motivations originate, in part, from the acknowledgement of how prevalent and relevant are the social interactions and cultural phenomenon developed in multiple online platforms and audiovisual creations. They are also linked to the awareness that these same settings and products aren't yet much discussed and represented in academic studies, especially given their great quantity and impact in present times. Taking into account these concerns, among the several questions and problems CysMus proposes to approach are:

- Cybercommunities and fans, as well as politics of interactivity and convergence among users, consumers, creators and companies;
- The analysis of music in different kinds of digital audiovisual products (videogames, tv series, movies, advertisements, music videos);
- Modes of circulation and sharing of audiovisual contents in several online platforms and systems (such as streaming, liveblogging, youtube, social networks), along with co-production and co-creation of audiovisual contents by users and their possible capitalization by online corporations;
- Transformations of certain professions and musical practices, linked to their relation with new copyright laws and new modes of commercialization and circulation.

CysMus seeks to contribute to the creation of intersections between studies of videogames, cinema, television, internet and other media with music studies. It also has the objective of organizing conferences, workshops and other events that all interested may attend, independently of their background or experience, so as to create a place of discussion of these relevant questions.


Contacts & Informations: email: cysmusportugal@gmail.com  | http://cysmus.weebly.com/  |https://www.facebook.com/cysmusportugal/ | http://cesem.fcsh.unl.pt/

Η αξιοποίηση νέων τεχνολογικών μέσων και η παρουσία εξειδικευμένων λογισμικών προσφέρει πλέον την απρόσκοπτη δυνατότητα ψηφιακής αποτύπωσης και ηχητικής αναπαραγωγής της εν γένει μουσικής, βυζαντινής και ευρωπαϊκής, με τη χρήση ηλεκτρονικού υπολογιστή. Η παρούσα εισήγηση πραγματεύεται την παρουσίαση και τη συνεργασία μεταξύ των σύγχρονων – και πλέον διαδεδομένων – μουσικών λογισμικών παρουσιάζοντας ταυτόχρονα και τα προσδοκώμενα μαθησιακά αποτελέσματα από τη χρήση αυτών και κατά τη διάρκεια της διδακτικής διαδικασίας.


The content of this paper is to present the most popular and up-to-date musical notation software that is used in both Western and Byzantine notation, to demonstrate their capabilities, as far as audio playback and collaboration is concerned, and to reveal specific learning achievements during the learning procedure.

[4ο Πανελλήνιο Εκπαιδευτικό Συνέδριο Κεντρικής Μακεδονίας για τις ΤΠΕ / Τόμος Β' / Πανελλήνια Ένωση Εκπαιδευτικών για την Αξιοποίηση των Τ.Π.Ε. στις Φυσικές Επιστήμες «Μιχάλης Δερτούζος» – 2003, σσ. 296 - 305 / Isbn : 978-960-99301-2-3/ Θεσσαλονίκη, 2016]

[4th Educational Greek Conference of Central Macedonia concerining ICT in education / Vol 2 / pages 296 - 305 / isbn : 978-960-99301-2-3, Thessaloniki 2016]


http://4syn-thess2016.ekped.gr/wp-content/uploads/2016/04/vol2_222-296-305.pdf

Technology’s  place  in  music  education  is  largely  related  to  how  it  is  socially  constituted.  Despite  how  technology  enables  intersections  of  and  blurred  boundaries  between  ways  of  being  musical,  it  is  often  situated  in  terms  of  hard  boundaries  and  compartmentalized  notions  of  musical  engagement.  Furthermore,  music  education  often  situates  technology  as  tools  without  necessarily  considering  related  social,  cultural  or  musical  contexts.  This  chapter  addresses  how  philosophical,  pedagogical,  and  curricular  perspectives  play  a  key  role  in  the  types  and  degree  of  change  that  occur  in  relation  to  technology  and  music  education.  To  forward  related  praxis,  I  propose  that  music  educators  re-conceptualize  curriculum  and  re-situate  technology  to  address  social  and  cultural  issues  explicitly.  I  invite  music  educators  to  consider  the  potential  of  digitally  mediated  musical  engagement  within  the  contexts  of  curriculum  as  experience  and  as  social  reconstruction.  The  chapter  considers  how  such  change  might  occur  and  conceptual  frameworks  that  might  help  in  forwarding  such  work.

A comparison of the structure and operations of two popular Carnival masquerade bands in Trinidad & Tobago: Harts' - who pioneered the much-criticized "bikini-and-beads" masquerade, and YUMA (Young, Upwardly-Mobile Adults) - a newcomer to the Trinidad & Tobago Carnival.

La presente tesi di laurea intende focalizzare l'attenzione sul fenomeno del rock progressivo operando una ricerca approfondita nell'area di pertinenza germanica: i temi fondamentali dell'elaborato consistono nell'individuazione del genere in rapporto ai fattori socioculturali dell'epoca, determinando la temperie politica in cui esso potè fiorire. Il lavoro delinea le esperienze di gruppi come Can, Kraftwerk, Neu!, Amon Düül II, Faust, Ton Steine Scherben, Tangerine Dream, Ash Ra Tempel e Klaus Schulze, per approfondire in merito la carriera di uno dei gruppi più interessanti di tutta la scena Kosmische, i Popol Vuh; successivamente è posta in evidenza la collaborazione del gruppo assieme a Werner Herzog, analizzando la struttura narrativa di alcuni dei film più importanti del regista assieme alle sonorizzazioni operate dal gruppo.