Thematische Bibliographien / Music product features

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Auswahl der wissenschaftlichen Literatur zum Thema „Music product features“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 15. Februar 2022

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Zeitschriftenartikel zum Thema "Music product features"

Askin, Noah, and Michael Mauskapf. "What Makes Popular Culture Popular? Product Features and Optimal Differentiation in Music." American Sociological Review 82, no. 5 (2017): 910–44. http://dx.doi.org/10.1177/0003122417728662.

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In this article, we propose a new explanation for why certain cultural products outperform their peers to achieve widespread success. We argue that products’ position in feature space significantly predicts their popular success. Using tools from computer science, we construct a novel dataset allowing us to examine whether the musical features of nearly 27,000 songs from Billboard’s Hot 100 charts predict their levels of success in this cultural market. We find that, in addition to artist familiarity, genre affiliation, and institutional support, a song’s perceived proximity to its peers influ

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Diaz Soria, Inmaculada, Asunción Blanco-Romero, and Gemma Canoves I. Valiente. "Emporda music festivals as tourism diversification tools." International Journal of Event and Festival Management 5, no. 3 (2014): 297–310. http://dx.doi.org/10.1108/ijefm-11-2013-0036.

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Purpose – The purpose of this paper is to focus on territorial dynamics generated by five music festivals in the Emporda region (Spain) and its tourism sector. Design/methodology/approach – Using qualitative methodology, 10 qualified informants were interviewed. Their answers were coded and analysed. Findings – Territorial features favour the organisation of festivals. Promoters wish to offer some added value using local products. Festivals broadcast local identity to the world. Festivals’ features as tourist products explain how they are perceived as innovative. Practical implications – These

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Chin, Yu-Hao, Chang-Hong Lin, Ernestasia Siahaan, and Jia-Ching Wang. "Music Emotion Detection Using Hierarchical Sparse Kernel Machines." Scientific World Journal 2014 (2014): 1–7. http://dx.doi.org/10.1155/2014/270378.

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For music emotion detection, this paper presents a music emotion verification system based on hierarchical sparse kernel machines. With the proposed system, we intend to verify if a music clip possesses happiness emotion or not. There are two levels in the hierarchical sparse kernel machines. In the first level, a set of acoustical features are extracted, and principle component analysis (PCA) is implemented to reduce the dimension. The acoustical features are utilized to generate the first-level decision vector, which is a vector with each element being a significant value of an emotion. The

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Suharyono, Suharyono, and Ajeng Suasti Astuti. "The Impact of Brand Image, Product Quality, Price, and Promotion on Premium Plan Purchase Decisions on the Spotify Music Streaming App." FOCUS 1, no. 1 (2020): 1–11. http://dx.doi.org/10.37010/fcs.v1i1.265.

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Digitalization in every industry continues to develop, which is also happened to the music industry. Music streaming applications are a technology that is in great demand today. Spotify is an on-demand music service application that is popular among music lovers. Spotify offers a free package and paid (premium) package services. The difference between the two service models lies in the quality and different service features. The purpose of this thesis is to analyze the influence of brand image, product quality, price, and promotion on premium package purchase decisions on the Spotify music str

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Tifferet, Sigal, Ofir Gaziel, and Yoav Baram. "Guitar increases male facebook attractiveness: Preliminary support for the sexual selection theory of music." Letters on Evolutionary Behavioral Science 3, no. 1 (2012): 4–6. http://dx.doi.org/10.5178/lebs.2012.18.

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Music is a universal phenomenon that has genetic and brain-localized features. As such, it warrants adaptive evolutionary explanations. While some scholars believe that music arose as a by-product of other adaptations, others argue that music is likely to have served some adaptive function, for example in coalition signaling or mother-child bonding. The sexual selection theory of music suggests that music serves as a signal in mate selection. While this claim is prevalent, it lacks empirical evidence. A facebook experiment revealed that women replied more positively to friendship requests from

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Kennerley, David. "Music, Politics, and History: An Introduction." Journal of British Studies 60, no. 2 (2021): 362–74. http://dx.doi.org/10.1017/jbr.2020.245.

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AbstractMusic has been steadily rising up the historical agenda, a product of the emergence of sound studies, the history of the senses, and a mood of interdisciplinary curiosity. This introductory article offers a critical review of how the relationship between music and politics has featured in extant historical writing, from classic works of political history to the most recent scholarship. It begins by evaluating different approaches that historians have taken to music, summarizes the important shifts in method that have recently taken place, and advocates for a performance-centered, conte

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Kostiuk, E. V. "Mass music as a cultural phenomenon of the XX century." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 63–67. http://dx.doi.org/10.30725/2619-0303-2020-3-63-67.

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The article considers mass music as a socio-artistic phenomenon in the culture of the XX century. The article covers the issues of socio-cultural and technological factors that contributed to the development of music as a mass phenomenon in the XX century. The phenomenon of mass music is interpreted in comparison with the elite, academic direction in music, and the features of the social customer are studied. Evaluation of mass music as an artistic and social phenomenon leads to the conclusion that entertainment, as its main function, has a number of features over the course of the century: fr

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Kinkar, Ketki. "Product Recommendation System: A Systematic Literature Review." International Journal for Research in Applied Science and Engineering Technology 9, no. VII (2021): 3330–39. http://dx.doi.org/10.22214/ijraset.2021.37024.

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In today's world, we find a wide variety of search options and we may have difficulty selecting what we really need. The recommendation System plays an important part in dealing with these problems. A recommender system is a framework that is a filtering system that filters the data with various algorithms and recommends the user with the most relevant data. Recommendation systems are productive customization mechanisms, often up-to-date and recommendations based on current consumer preferences. These systems have shown to be extremely helpful in different areas of e-commerce, education, movie

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Atay, Bilge, Tülün Malkoç, and Hakan Bağcı. "Investigation of the correlation of academic motivation and music performance anxiety levels." Cypriot Journal of Educational Sciences 15, no. 6 (2020): 1599–613. http://dx.doi.org/10.18844/cjes.v15i6.5320.

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This research was carried out to measure the academic motivation levels of pre-service music teachers as well as the music performance anxiety levels to investigate potential correlations between them. The sample group of this scanning modelled study is comprised of 241 students studying at departments of music education at Niğde Ömer Halis Demir University, Pamukkale University, Konya Necmettin Erbakan University and Karadeniz Technical University. To determine the demographic features of the students taking part in the study, a demographic information form was used. In order to measure stude

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Holbrook, Morris B., and Punam Anand. "The Effects of Situation, Sequence, and Features on Perceptual and Affective Responses to Product Designs: The Case of Aesthetic Consumption." Empirical Studies of the Arts 10, no. 1 (1992): 19–31. http://dx.doi.org/10.2190/u8t0-kvr3-64xg-yp3a.

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This article proposes a general model in which various situational and sequential aspects of consumer behavior combine with features of a product to determine perceptions and their affective consequences. It illustrates this model by means of an example from applied empirical aesthetics and investigates the effects of tempo on perceptual and affective aesthetic responses to music. In particular, a new analysis of some data drawn from consumer aesthetics demonstrates the intervening role of perceived activity in mediating the effects of musical tempo on affect across a sequence of listening exp

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Dissertationen zum Thema "Music product features"

Bhovichitra, Phunpiti. "Music CD in development and consumer value in the Thai music industry." Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/26302.

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While the digital market, especially the music streaming market, has rapidly grown in recent years, however the physical music segment still remains relevant in the Thai market. The Thai music market has inimitable characteristics within the market in terms of the physical music record offers, recorded musical works, and a growth trend in physical sales. Moreover, the behaviour in physical music consumption is opposite to that in world markets. Music consumption practices in the Thai market and why physical music, and CDs in particular, remain relevant to the Thai music industry are an enigma.

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Bücher zum Thema "Music product features"

Platte, Nathan. “Drama Rising like Mighty Music”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0003.

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Selznick’s move to RKO in 1931 brought the producer in contact with music director Max Steiner. Through their collaborative relationship they defined and directed the role of symphonic underscore in Hollywood. This chapter charts their systematic expansion of background scoring within individual films and the extension of this music beyond films in sheet music and concert performances. Special emphasis is placed on Symphony of Six Million (1932) and the “island-adventure trilogy” of Bird of Paradise (1932), The Most Dangerous Game (1932), and King Kong (1933). Tracking music’s role across thes

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Abbott, Helen. Conclusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0009.

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Baudelaire’s appearance in song is not a chance by-product of his reception history but an integral part of it. The 1880–1930 period covered in this book shows how Baudelaire’s poetry adapted to new musical soundscapes during an era of development in song forms across Europe. Not all agree that Baudelaire’s poetry is ‘well-suited’ to musical settings, but the reach of his poetry is extensive, and the varying levels of ‘success’ of each song confirm that song is predicated on impermanence. Baudelaire settings remain open to new interpretations and resist conformity of treatment. While there are

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Owens, Matthew, and Graham F. Welch. Choral Pedagogy and the Construction of Identity. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.9.

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Following an initiative of the early 1990s, the majority of United Kingdom cathedrals now have girl as well as boy cathedral choristers, often alternating in the singing of the daily services. One of the original political challenges in this musico-cultural initiative was whether or not it was possible for girl choristers to attain the same vocal quality as their male counterparts. Empirical studies, however, suggest that there is considerable overlap between the psycho-acoustic vocal features of girls’ and boys’ singing, such that it is often difficult perceptually to distinguish between the

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Merchant, Tanya. Like Tereshkova in the Cosmos. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0004.

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This chapter examines how women perform post-Soviet nationalism using the canon of European classical music by focusing on a project designed to produce Uzbek Western art music, one that retains prominence in independent Uzbekistan. The project has involved getting composers engaged in the creation of a sense of Uzbek style in composition. In Uzbekistan, from remarkably early in the Soviet period, women have been important figures in the performance and promulgation of Uzbek compositions. The chapter first provides a historical overview of Western art music in Soviet Uzbekistan and compares it

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Abbott, Helen. Baudelaire in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.001.0001.

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Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as s

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Burden, Michael. Dibdin at the Royal Circus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812425.003.0003.

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In 1782, Dibdin entered into a partnership with Charles Hughes to set up a new entertainment venue, the Royal Circus. Its unique feature was the combination of an equestrian ring with allegorical and musical entertainments on a proscenium-arch stage, an innovative hybrid that drew upon the respective talents of Hughes and Dibdin. This chapter analyses how the Circus sought to compete with its rivals through its architecture and location, spectacle, music, novelties (including performances by children), and the mixing of genres and forms. Ultimately, however, Dibdin’s time at the Circus ended i

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Goldmark, Daniel. Pixar and the Animated Soundtrack. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.022.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Of the many ways in which the animation production company Pixar differentiated itself from the classic animated shorts and films produced by Disney, the complete shunning of the Disney musical archetype may be the most pronounced. Pixar replaced the musical numbers and dance sequences with montages and flashbacks, scored with either original music or preexisting songs, furthering Pixar’s near-obsession with nostalgia and resurrection of the distant past. Com

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Roche, David. Quentin Tarantino. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819161.001.0001.

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An in-depth study of all Tarantino’s feature films to date (from Reservoir Dogs to The Hateful Eight), Quentin Tarantino: A Poetics and Politics of Cinematic Metafiction argues that, far from wallowing in narcissism and solipsism, a charge directed not only at Tarantino but at metafiction in general, these self-conscious fictions do more than just reflexively foreground their status as artefacts; they offer metacommentaries that engage with the history of cultural representations and exalt the aesthetic, ethical and political potential of creation as re-recreation and resignification. By combi

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Clark, Walter Aaron. Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.001.0001.

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Spanish émigré guitarist Celedonio Romero gave his American debut performance on a June evening in 1958. In the sixty years since, the Romero family—Celedonio, his wife Angelita, sons Celín, Pepe, and Angel, as well as grandsons Celino and Lito—has become preeminent in the world of Spanish flamenco and classical guitar in the United States. Walter Aaron Clark’s in-depth research and unprecedented access to his subjects have produced the consummate biography of the Romero family. Clark examines the full story of their genius for making music, from their outsider's struggle to gain respect for t

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Stalker, Nancy K., ed. Devouring Japan. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190240400.001.0001.

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In recent years, Japan’s cuisine, or washoku, has been eclipsing that of France as the world’s most desirable food. UNESCO recognized washoku as an intangible cultural treasure in 2013, and Tokyo boasts more Michelin-starred restaurants than Paris and New York combined. Together with anime, pop music, fashion, and cute goods, cuisine is part of the “Cool Japan” brand that promotes the country as a new kind of cultural superpower. This book offers insights into many different aspects of Japanese culinary history and practice, from the evolution and characteristics of particular foodstuffs, to t

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Buchteile zum Thema "Music product features"

Nora, Tia De. "‘Forever piping songs forever new’: The musical teenager and musical inner teenager across the life course." In Handbook of Music, Adolescents, and Wellbeing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198808992.003.0011.

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Age is a flexible construction. It takes shape in relation to a social distribution of cultural resources for the configuration of age-specific identities. It is spatially and temporally produced. This chapter describes how musical engagement can produce anachronistic enactments of age-linked categories. Studying the ways that music is appropriated for this purpose highlights age-banded categories—adolescence included—as identity performances, constituted through musical practices, tastes, listening habits, and engagement. Music can also facilitate anachronistic age identities and these may offer developmental opportunities as well as opportunities for asylum (shelter from distressing features of daily life). This chapter explores how ‘reverting’ to adolescent musical practices and tastes affords the identity performance of the ‘inner teen’. It concludes that using music for age-band travel can be catalytic for major life change as well as for smaller processes of adaptation and coping.

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Frankel, James Thomas. "Choosing Engaging Tools for the Music Classroom." In Creative Music Making at Your Fingertips. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190078119.003.0004.

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Over the course of the past fifty years, countless software and hardware products have been introduced into music classrooms around the world with varying degrees of pedagogical success. The majority of these products were geared toward professional and amateur musicians and composers, only to be introduced to music teachers, either organically (teachers bringing real-world products into their classrooms) or through the efforts of manufacturers to obtain a new revenue stream for their products by selling them to schools. Knowing this, teachers often find it difficult to become aware of, identify, and choose these tools for use in their classroom instruction. The chapter presents key elements in successfully identifying and implementing creative, intuitive, and engaging tools for teaching, learning, and music making in the music classroom, as well as measuring their efficacy. Case studies focusing on the practices of several music educators are presented, including interviews with the software designers to illuminate the process behind innovative design. In addition to these case studies, a discussion of current products and their individual features and design ethos is given, with an emphasis on concepts instead of brands and devices.

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MacDonald, Scott. "Betzy Bromberg." In The Sublimity of Document. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052126.003.0018.

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Following a transformative experience while filming in the catacombs in Paris, Betzy Bromberg radically changed her approach to filmmaking, and in recent years has produced feature-length, 16mm films with accompanying music, by exploring minute spaces within the gardens around her home in Tujunga, California. The most recent of the films, Voluptuous Sleep (2012) and Glide of Transparency (2017), are simultaneously landmarks of cine-abstraction and intimate portraits of familiar spaces—a kind of visual music, accompanied by sound and music by Robert Allaire, Dane Davis, and others, including Bromberg.

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Smith, Steven C. "Yours, Herman Hupfeld." In Music by Max Steiner. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190623272.003.0019.

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Amid Casablanca’s many justly celebrated aspects is its soundtrack—the subject of much of this chapter. Surprisingly, Steiner hated the 1931 song “As Time Goes By,” which producer Hal Wallis insisted be featured in the underscoring (Max wanted to pen an original tune for Bogart and Bergman). But Steiner’s consummate professionalism is demonstrated by the ingenious ways he adapted Herman Hupfeld’s melody into one of the movies’ greatest love themes, in a score with many other musical highlights. This chapter also examines the ways in which Steiner’s music became part of Hollywood’s propaganda efforts during World War II, from the controversial, pro-Russia Mission to Moscow (which required the personal approval of Josef Stalin), to the sublime Americana of The Adventures of Mark Twain, one of Steiner’s most underappreciated scores.

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Sheppard, W. Anthony. "An Exotic Enemy." In Extreme Exoticism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190072704.003.0006.

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The cinema was the most effective medium for anti-Japanese propaganda in the U.S. during World War II and was the site of music’s most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. Select sophisticated examples of musical propaganda are analyzed, offering new perspectives for the study of cross-cultural musical encounters. For many in the U.S., Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.

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Fernández-Álvarez, Daniel, José Emilio Labra Gayo, Daniel Gayo-Avello, and Patricia Ordoñez de Pablos. "Overview of MERA." In Semantic Web Science and Real-World Applications. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7186-5.ch009.

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The proliferation of large databases with potentially repeated entities across the World Wide Web drives into a generalized interest to find methods to detect duplicated entries. The heterogeneity of the data cause that generalist approaches may produce a poor performance in scenarios with distinguishing features. In this paper, we analyze the particularities of music related-databases and we describe Musical Entities Reconciliation Architecture (MERA). MERA consists of an architecture to match entries of two sources, allowing the use of extra support sources to improve the results. It makes use of semantic web technologies and it is able to adapt the matching process to the nature of each field in each database. We have implemented a prototype of MERA and compared it with a well-known music-specialized search engine. Our prototype outperforms the selected baseline in terms of accuracy.

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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.

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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).

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Matsue, Jennifer Milioto. "The Ideal Idol." In Vamping the Stage. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824869861.003.0015.

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Hatsune Miku is immensely popular. Since debuting in 2007 over 10,000 songs have been produced for her and she has appeared in 250,000 videos on-line. 4000 professional recordings have been released of her songs and numerous dolls, games, and other seemingly unlimited forms of merchandise feature her big violet eyes, floor-grazing blue pigtails and futuristic schoolgirl uniform. Hatsune Miku is actually a type of vocal synthesizer software produced by Yamaha and marketed by Crypton known as “Vocaloid 2.” Other vocal synthesizer softwares with associated characters have come before, but none have enjoyed the same success as Hatsune Miku. Hatsune Miku’s performance – whether in amateur produced songs posted on Piapro or in multi-million-dollar live 3D productions – raises many questions about the potential effects of Vocaloid software on the future of making music in Japan. Through the technical production of songs, the quality of vocals, and her presence on stage, Hatsune Miku slides back and forth between a position of classic passivity to one of female empowerment and feminist approaches to equity. This chapter further explores Hatsune Miku’s complicated position as a performer who perpetuates an objectified position of women in popular music while at the same time promotes democratic music making.

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Rehding, Alexander. "Opelt’s Siren and the Technologies of Musical Hearing." In Testing Hearing. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197511121.003.0006.

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Friedrich Wilhelm Opelt (1794–1863) proposed a revolutionary music theory based on the recursive features of human hearing. Opelt based his theory on a recent invention, Charles Cagniard de la Tour’s mechanical siren (1819), which he expanded and improved. Cagniard’s model consists of a metal disk with holes in regular intervals that, when set in rotation and with air blown through them, produce a series of air puffs. Once their pulsation increases above 20Hz, this pulse is heard as a continuous, rising pitch. Opelt employed this device to test the properties of hearing against the parameters of music: he noted that more complex patterns of holes translate into intervals, chords, and harmonies and showed that every pitch event can be translated into a corresponding rhythmic event. Pitch and rhythm may be different perceptual parameters, but physically, they are both temporal events, which merely inhabit different dimensions of the time axis.

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Whitehead, Kevin. "Spectacles 1972–1984." In Play the Way You Feel. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.003.0007.

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Between 1972 and 1984, Hollywood produced several lavish jazz-related films. The failure of Lady Sings the Blues to do justice to the life or music of Billie Holiday is detailed. Martin Scorsese’s New York, New York is a swing-era musical about a clash of artistic temperaments and of musical styles, reinforced by a disjunction between stylized sets and naturalistic acting. Gangsters and musicians mix in Francis Ford Coppola’s film about Harlem’s historic Cotton Club. In the 1970s, low-budget features are also produced: TV biopics of Louis Armstrong (with Ben Vereen) and Scott Joplin (Billy Dee Williams), and the Afrofuturist spectacle Space Is the Place, starring bandleader Sun Ra as an interstellar traveler come to rescue Earth’s black people.

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Konferenzberichte zum Thema "Music product features"

Oliveira Neto, Aluizio. "Iterative Meditations: The use of audio feature extraction tools on acousmatic composition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10460.

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This piece explores some possibilities of using Music Information Retrieval and Signal Processing techniques to extract acoustic features from recorded material and use this data to inform the decision making process that is intrinsic to music composition. By trying to identify or create sound descriptors that correlate to the composer’s subjective sensations of listening it was possible to compare and manipulate samples on the basis of this information, bridging the gap between the imagined acoustic targets and the actions required to achieve it. “Iterative Meditations” was created through an

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Poon Chong, Peter, and Terrence Lalla. "APPLYING FUZZY QFD MCDM TO EVALUATE MUSICAL INSTRUMENTS." In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/bgmj4037.

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This paper exhibits a method to improve the quality of musical instruments with the application of two Multi-Criteria Decision Making models, Technique of Order Preference by Similarity to Ideal Solution (TOPSIS) and Analytic Hierarchy Process (AHP) in a Quality Function Deployment (QFD) Environment. A fuzzy analysis approach was also included to accommodate qualitative data in music. The QFD was constructed with literature based on optimizing the manufacture of musical instruments. At this phase of the research, the paper focused on the physical parameters and perceived qualities of musical i

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Esmaeilian, Behzad, Angshuman Deka, and Sara Behdad. "A Blockchain Platform for Protecting Intellectual Property: Implications for Additive Manufacturing." In ASME 2019 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/detc2019-98293.

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Abstract Prior studies have already predicted that enforcement of IP on the additive manufacturing industry will not be successful due to the widespread use of file-sharing technologies, similar to the entertainment and music industry. This paper discusses the capabilities of Blockchain technology for protecting IP in the design and manufacturing area. A conceptual framework for a digital platform is defined in this paper and further, a survey study of engineering design and manufacturing students has been conducted to identify the main motivation behind developing these platforms and the type

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Han, Huihui, Xin Luo, Tao Yang, and Youqun Shi. "Music Recommendation Based on Feature Similarity." In 2018 IEEE International Conference of Safety Produce Informatization (IICSPI). IEEE, 2018. http://dx.doi.org/10.1109/iicspi.2018.8690510.

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Morawitz, Falk. "Multilayered Narration in Electroacoustic Music Composition Using Nuclear Magnetic Resonance Data Sonification and Acousmatic Storytelling." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.052.

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Nuclear magnetic resonance (NMR) spectroscopy is an analytical tool to determine the structure of chemical compounds. Unlike other spectroscopic methods, signals recorded using NMR spectrometers are frequently in a range of zero to 20000 Hz, making direct playback possible. As each type of molecule has, based on its structural features, distinct and predictable features in its NMR spectra, NMR data sonification can be used to create auditory ‘fingerprints’ of molecules. This paper describes the methodology of NMR data sonification of the nuclei nitrogen, phosphorous, and oxygen and analyses th

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Pekcan, Cemre. "The Importance of Cultural Diplomacy in Breaking the Perception of “China Threat”." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01658.

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Cultural diplomacy, which is accepted as a sub-branch of public diplomacy, is described as ‘the exchange of ideas, information, art, and other aspects of culture among nations and their peoples in order to foster mutual understanding’ by Milton C. Cummings. Although this term has been used in international relations for centuries, its acceptance as a theory is a relatively new concept. Cultural diplomacy, as a component of both public diplomacy and also Joseph Nye’s ‘soft power’, includes movies, music, dance, exhibitions, various education and exchange programs, literature and cultural progra

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Forni, M., A. Martelli, A. Poggianti, et al. "Development of Innovative Anti-Seismic Systems for Civil and Industrial Structures: New Achievements of ENEA." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1436.

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As described at previous ASME-PVP Conferences, large efforts have been devoted by the Italian Agency for New Technology, Energy and the Environment (ENEA), with the cooperation of several further members of the Italian Working Group on Seismic Isolation (GLIS), to the development, validation and application of innovative anti-seismic (IAS) techniques since 1988. Considered have been base and floor seismic isolation systems, energy dissipation systems consisting of various types of passive devices (elastic-plastic, viscous, visco-elastic and electro-inductive dampers), hydraulic coupling system

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Berichte der Organisationen zum Thema "Music product features"

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of

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