Academic literature on the topic 'Digital editing; Musical audio analysis'
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Journal articles on the topic "Digital editing; Musical audio analysis"
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Findlay-Walsh, Iain. "Virtual auditory reality." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (2021): 71–90. http://dx.doi.org/10.7146/se.v10i1.124199.
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This article examines popular music listening in light of recent research in auditory perception and spatial experience, record production, and virtual reality, while considering parallel developments in digital pop music production practice. The discussion begins by considering theories of listening and embodiment by Brandon LaBelle, Eric Clarke, Salomè Voegelin and Linda Salter, examining relations between listening subjects and aural environments, conceptualising listening as a process of environmental ‘inhabiting’, and considering auditory experience as the real-time construction of ‘reality’. These ideas are discussed in relation to recent research on popular music production and perception, with a focus on matters of spatial sound design, the virtual ‘staging’ of music performances and performing bodies, digital editing methods and effects, and on shifting relations between musical spatiality, singer-persona, audio technologies, and listener. Writings on music and virtual space by Martin Knakkergaard, Allan Moore, Ragnhild Brøvig-Hanssen & Anne Danielsen, Denis Smalley, Dale Chapman, Kodwo Eshun and Holger Schulze are discussed, before being related to conceptions of VR sound and user experience by Jaron Lanier, Rolf Nordahl & Niels Nilsson, Mel Slater, Tom Garner and Frances Dyson. This critical framework informs three short aural analyses of digital pop tracks released during the last 10 years - Titanium (Guetta & Sia 2010), Ultralight Beam (West 2016) and 2099 (Charli XCX 2019) - presented in the form of autoethnographic ‘listening notes’. Through this discussion on personal popular music listening and virtual spatiality, a theory of pop listening as embodied inhabiting of simulated narrative space, or virtual story-world, with reference to ‘aural-dominant realities’ (Salter), ‘sonic possible worlds’ (Voegelin), and ‘sonic fictions’ (Eshun), is developed. By examining personal music listening in relation to VR user experience, this study proposes listening to pop music in the 21st century as a mode of immersive, embodied ‘storyliving’, or ‘storydoing’ (Allen & Tucker).
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Wiflihani, Wiflihani, Pita HD Silitonga, and Herna Hirza. "Digitalization of North Sumatera Malay Ritual Music Using Cubase 5 Software." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 4 (2019): 556–66. http://dx.doi.org/10.33258/birci.v2i4.657.
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The high level of need of dance artists in North Sumatra for digital audio of Malay ritual dance music while the digital material is not publicly available. This triggers researchers to conduct research on the use of this cubase music software as an alternative in the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The method used in this study is an experimental approach to the process of packaging the learning material of musical accompaniment of the Gobuk Bedagai Malay ritual dance into digital audio. The packaging process by recording audio and video ritual dance performances in the coastal areas of North Sumatra Malay. The results of this study indicate that the process of creating digitalization consists of recording, editing, mixing and mastering using cubase.
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Ingram, Kelly, Ferenc Bunta, and David Ingram. "Digital Data Collection and Analysis." Language, Speech, and Hearing Services in Schools 35, no. 2 (2004): 112–21. http://dx.doi.org/10.1044/0161-1461(2004/013).
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Technology for digital speech recording and speech analysis is now readily available for all clinicians who use a computer. This article discusses some advantages of moving from analog to digital recordings and outlines basic recording procedures. The purpose of this article is to familiarize speech-language pathologists with computerized audio files and the benefits of working with those sound files as opposed to using analog recordings. This article addresses transcription issues and offers practical examples of various functions, such as playback, editing sound files, using waveform displays, and extracting utterances. An appendix is provided that describes step-by-step how digital recording can be done. It also provides some editing examples and a list of useful computer programs for audio editing and speech analyses. In addition, this article includes suggestions for clinical uses in both the assessment and the treatment of various speech and language disorders.
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Kovalenko, Oleksandr M. "ОСОБЛИВОСТІ ВИКОРИСТАННЯ ЦИФРОВИХ АУДІО РОБОЧИХ СТАНЦІЙ, ПРИЗНАЧЕНИХ ДЛЯ СТВОРЕННЯ ЕЛЕКТРОННОЇ МУЗИКИ В УМОВАХ НЕФОРМАЛЬНОЇ ОСВІТИ ДОРОСЛИХ". Information Technologies and Learning Tools 53, № 3 (2016): 178. http://dx.doi.org/10.33407/itlt.v53i3.1428.
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In the article it is highlighted the importance of self-education and self-development of adults to perform an effective vital activity in the modern information society. It has been considered possibilities of application of audio workstation for musical self-education and self-development of adults. Analysis of basic characteristics and functional features of digital audio workstations is given. The basic advantages and disadvantages of using digital audio workstations in musical self-education of adults are presented. A comparative analysis of the most widespread in the world of digital audio workstations is given. The analysis was carried out by examining of special literature, practical use of digital audio workstations, sites developers of these programs and the experience of using digital audio workstations. At present digital audio workstations is a tool for creating an electronic music. That is why the ability to use the sequencer becomes the main requirement for music producers, arrangers and sound engineers.
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Norowi, N. M., S. Doraisamy, and R. Wirza. "TRADITIONAL MALAYSIAN MUSICAL GENRES CLASSIFICATION BASED ON THE ANALYSIS OF BEAT FEATURE IN AUDIO." Journal of IT in Asia 2, no. 1 (2016): 95–109. http://dx.doi.org/10.33736/jita.57.2007.
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Interest on automated genre classification systems is growing following the increase in the number of musical digital data collections. Many of these systems have been researched and developed to classify Western musical genres such as pop, rock or classical. However, adapting these systems for the classification of Traditional Malay Musical (TMM) genres which includes Gamelan, Inang and Zapin, is difficult due to the differences in musical structures and modes. This study investigates the effects of various factors and audio feature set combinations towards the classification of TMM genres. Results from experiments conducted in several phases show that factors such as dataset size, track length and location¸ together with various combinations of audio feature sets comprising Short Time Fourier Transform (STFT), Mel-Frequency Cepstral Coefficients (MFCCs) and Beat Features affect classification. Based on parameters optimized for TMM genres, classification performances were evaluated against three groups of human subjects: experts, trained and untrained. Performances of both machine and human were shown to be comparable.
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Boyarov, A. G., and I. S. Siparov. "Forensic Investigation of MP3 Audio Recordings." Theory and Practice of Forensic Science 14, no. 4 (2020): 125–36. http://dx.doi.org/10.30764//1819-2785-2019-14-4-125-136.
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Special aspects of MP3-recordings technical investigation are addressed. The following features of formation and research of MP3 phonograms are explained: traces of MP3 coding in time and spectral domain, special aspects of MP3-files structure analysis, detection methods of re-coding of MP3-recordings, methods of group identification of MP3-recorders and MP3-codecs.MP3 coding leaves certain traces of its usage. Due to the psychoacoustic model inaudible spectral components are deleted from the signal spectrum. Traces of psychoacoustic codecs usage are also clearly seen via dynamic spectrogram as rectangular areas of zero spectral amplitude. The methods discussed in this paper enable the investigating expert to detect the exact position of the MP3 frame in the signal by its properties even without any information from the file header. This method reveals the coding itself, multiple coding and also audio editing by the investigation of the periodicity of the extracted frames’ positions.MP3 file format specifies the structure of the frame header providing a perfect instrument to detect any periodicity of any peculiarities of MP3 frames. The tool based on this approach reveals MP3 frames disorder caused by editing in the “digital” domain – manual deletion of audio information using HEX editor.
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Bacciaglia, Antonio, Alessandro Ceruti, and Alfredo Liverani. "A design of experiment approach to 3D-printed mouthpieces sound analysis." Progress in Additive Manufacturing 6, no. 3 (2021): 571–87. http://dx.doi.org/10.1007/s40964-021-00183-5.
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AbstractNowadays additive manufacturing is affected by a rapid expansion of possible applications. It is defined as a set of technologies that allow the production of components from 3D digital models in a short time by adding material layer by layer. It shows enormous potential to support wind musical instruments manufacturing because the design of complex shapes could produce unexplored and unconventional sounds, together with external customization capabilities. The change in the production process, material and shape could affect the resulting sound. This work aims to compare the music performances of 3D-printed trombone mouthpieces using both Fused Deposition Modelling and Stereolithography techniques, compared to the commercial brass one. The quantitative comparison is made applying a Design of Experiment methodology, to detect the main additive manufacturing parameters that affect the sound quality. Digital audio processing techniques, such as spectral analysis, cross-correlation and psychoacoustic analysis in terms of loudness, roughness and fluctuation strength have been applied to evaluate sounds. The methodology herein applied could be used as a standard for future studies on additively manufactured musical instruments.
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Decker, Todd. "The Filmmaker as DJ." Journal of Musicology 34, no. 2 (2017): 281–317. http://dx.doi.org/10.1525/jm.2017.34.02.281.
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Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.
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Kulaha, Tetiana. "Methodical guidelines for the use of ICT in teaching contemporary vocals in children schools of art." Ukrainian Journal of Educational Studies and Information Technology 6, no. 4 (2018): 19–36. http://dx.doi.org/10.32919/uesit.2018.04.02.
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The article states that the reform of contemporary vocal education based on the principles of civilization integration of different, sometimes quite distant from each other, musical cultures, traditions and practices on the one hand, and the necessity for free access to the world vocal-performing and vocal-pedagogical experience on the other. In this regard, information and communication technologies (ICT) are becoming one of the most effective components of the educational process in primary specialized artistic educational institutions in the context of non-classical contemporary vocal. In the article, this issue is considered from the attitude of activity and culture appropriate approaches to learning.
 Based on the analysis of scientific and pedagogical sources on contemporary vocal pedagogy in the context of the use of ICT, the following methods and their respective means are separated: the methods of familiarization (3D technology, animation technology, audiovisual ICT); methods of work on vocal techniques (audio, visual and audiovisual ICT, computer, synthesizers, dictaphone, etc.); methods of work on the features of musical language and improvisation (audio, visual and audiovisual ICT, computer, video content, synthesizers, iReal-Pro, etc.); methods of preparing vocal repertoire (software for downloading, editing and storing information, notes and audio editors, etc.); methods of preparation and implementation of public performance (3D technology, animation technology, graphic and audio editors, video camera, voice recorder, dictaphone, video content, computer, mobile devices, etc.); methods of communication (computer, mobile devices, e-mail, instant messaging technology, social networks, messengers, video and audio conferencing systems, Internet, etc.), monitoring methods (video camera, dictaphone, memory cards and storage devices, etc.)
 The conclusions state that the methodological findings regarding the use of ICT in teaching of contemporary vocal are fragmented and do not constitute systematic methodological knowledge, what actualizes the problem of further research on the use of ICT and protection from artificial intelligence threats in the process of formation a contemporary non-classical vocal-performing thesaurus at pupils of specialized art educational institutions and institutions of non-formal art education.
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Düvel, Nina, Reinhard Kopiez, Anna Wolf, and Peter Weihe. "Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp." Music & Science 3 (January 1, 2020): 205920432090195. http://dx.doi.org/10.1177/2059204320901952.
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Over the last decades, the simulation of musical instruments by digital means has become an important part of modern music production and live performance. Since the first release of the Kemper Profiling Amplifier (KPA) in 2011, guitarists have been able to create and store a nearly unlimited number of “digital fingerprints” of amplifier and cabinet setups for live performances and studio productions. However, whether listeners can discriminate between the sounds of the KPA and the original amplifier remains unclear. Thus, we constructed a listening test based on musical examples from both sound sources. In a first approach, the psychoacoustic analysis using mel-frequency cepstrum coefficients (MFCCs) revealed a high degree of timbre similarity between the two sound sources. In a second step, a listening test with N = 177 showed that the overall discrimination performance was d’ = .34, which was a rather small difference (0.0 ≤ d’ ≤ 0.74). A weak relationship between the degree of general musical sophistication and discrimination performance was found. Overall, we suggest that listeners are rarely able to assign audio examples to the correct condition. We conclude that, at least on a perceptual level, our results give no support for a commonly accepted pessimistic attitude toward digital simulations of hardware sounds.
Dissertations / Theses on the topic "Digital editing; Musical audio analysis"
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Tait, Crawford. "Wavelet analysis for onset detection." Thesis, University of Glasgow, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363156.
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McCoy, Charles. "Analysis of digital audio samples for the extraction of musical information." Master's thesis, This resource online, 1995. http://scholar.lib.vt.edu/theses/available/etd-02022010-020235/.
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Hammarqvist, Ulf. "Audio editing in the time-frequency domain using the Gabor Wavelet Transform." Thesis, Uppsala universitet, Centrum för bildanalys, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-153634.
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Visualization, processing and editing of audio, directly on a time-frequency surface, is the scope of this thesis. More precisely the scalogram produced by a Gabor Wavelet transform is used, which is a powerful alternative to traditional techinques where the wave form is the main visual aid and editting is performed by parametric filters. Reconstruction properties, scalogram design and enhancements as well audio manipulation algorithms are investigated for this audio representation.The scalogram is designed to allow a flexible choice of time-frequency ratio, while maintaining high quality reconstruction. For this mean, the Loglet is used, which is observed to be the most suitable filter choice. Re-assignmentare tested, and a novel weighting function using partial derivatives of phase is proposed. An audio interpolation procedure is developed and shown to perform well in listening tests.The feasibility to use the transform coefficients directly for various purposes is investigated. It is concluded that Pitch shifts are hard to describe in the framework while noise thresh holding works well. A downsampling scheme is suggested that saves on operations and memory consumption as well as it speeds up real world implementations significantly. Finally, a Scalogram 'compression' procedure is developed, allowing the caching of an approximate scalogram.
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Huvet, Chloé. "D’Un nouvel espoir (1977) à La revanche des Sith (2005) : écriture musicale et traitement de la partition au sein du complexe audio-visuel dans la saga Star Wars." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20048.
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Fait unique dans l’histoire du cinéma, les partitions du gigantesque cycle dischronique qu’est la saga Star Wars, couvrant une période très étirée de vingt-huit ans, sont toutes de la main de John Williams. Cette constance compositionnelle devrait a priori faire des deux trilogies (1977-1983 et 1999-2005) un tout cohérent et unifié, d’autant que George Lucas envisage les six épisodes comme une seule et même entité. Pourtant, l’unité musicale de l’hexalogie et la signature musicale « starwarsienne » sont loin d’aller de soi, prenant la forme d’un idéal dénué de fondements solides réels.En adoptant une approche comparative transversale et en faisant varier différentes échelles d’analyse (épisode, trilogie, saga), la présente thèse a ainsi pour projet de montrer de quelles manières le matériau musical, les pratiques compositionnelles de Williams, mais aussi le traitement et l’intégration de la partition au sein du complexe audio-visuel font l’objet de profondes transformations entre les deux trilogies. Notre recherche interroge également dans quelle mesure et selon quelles modalités ces changements dans l’écriture musicale et l’utilisation de la partition dans les différents épisodes sont liés aux mutations des techniques cinématographiques, en particulier aux bouleversements dunumérique. Mettant à profit l’exploitation de sources manuscrites inédites et d’entretiens personnels réalisés auprès de l’orchestrateur principal de Williams, Conrad Pope, et de son music editor Kenneth Wannberg, notre travail met en oeuvre une interdisciplinarité affirmée au croisement de l’analyse musicale, de l’histoire du cinéma et des technologies<br>The scores of the Star Wars saga, a gigantic dischronic cycle spanning over a long period of twentyeight years, are all composed by John Williams, a unique configuration in cinema history. This compositional consistency should theoretically establish the two trilogies (1977-1983 and 1999-2005) as a coherent and unified whole, especially as George Lucas considers the six episodes as one single entity. Nevertheless, the hexalogy’s musical unity and the existence of a Star Wars musical signature are far from self-evident, instead taking the form of an ideal devoid of real, solid foundations.By adopting a comparative cross-disciplinary approach and by resorting to different scales of analysis (episode, trilogy, saga), this dissertation aims to show in which ways the musical material, Williams’ compositional practice as well as the use and integration of the score within the audiovisual complex are subjected to profound transformations between the two trilogies. This research also questions how and to what extent these changes in Williams’s writing and the score’s treatment in the different episodes are related to the mutations of film techniques, especially those of the digital age.Drawing on unreleased hand-written sources and personal interviews conducted with Williams’ main orchestrator, Conrad Pope, and his music editor, Kenneth Wannberg, this dissertation implements a firm interdisciplinarity at the intersection of musical analysis, cinema and technology history
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Huvet, Chloé. "D’Un nouvel espoir (1977) à La Revanche des Sith (2005) : écriture musicale et traitement de la partition au sein du complexe audio-visuel dans la saga Star Wars." Thèse, 2017. http://hdl.handle.net/1866/20076.
Full textBooks on the topic "Digital editing; Musical audio analysis"
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Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.
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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.
Book chapters on the topic "Digital editing; Musical audio analysis"
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Jackson, Wallace. "A Visualization of Digital Audio: Spectral Analysis." In Digital Audio Editing Fundamentals. Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-1648-4_9.
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Dixon, Simon. "Audio Analysis Applications for Music." In Encyclopedia of Information Science and Technology, First Edition. IGI Global, 2005. http://dx.doi.org/10.4018/978-1-59140-553-5.ch036.
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The last decade has seen a revolution in the use of digital audio: The CD, which one decade earlier had taken over the home audio market, is starting to be replaced by electronic media which are distributed over the Internet and stored on computers or portable devices in compressed formats. The need has arisen for software to manage and manipulate the gigabytes of data in these music collections, and with the continual increase in computer speed, memory and disk storage capacity, the development of many previously infeasible applications has become possible.
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Karydis, Ioannis, Alexandros Nanopoulos, and Yannis Manolopoulos. "Mining in Music Databases." In Database Technologies. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-058-5.ch004.
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This chapter provides a broad survey of music data mining, including clustering, classification and pattern discovery in music. The data studied is mainly symbolic encodings of musical scores, although digital audio (acoustic data) is also addressed. Throughout the chapter, practical applications of music data mining are presented. Music data mining addresses the discovery of knowledge from music corpora. This chapter encapsulates the theory and methods required in order to discover knowledge in the form of patterns for music analysis and retrieval, or statistical models for music classification and generation. Music data, with their temporal, highly structured and polyphonic character, introduce new challenges for data mining. Additionally, due to their complex structure and their subjectivity to inaccuracies caused by perceptual effects, music data present challenges in knowledge representation as well.
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Karydis, Ioannis, Alexandros Nanopoulos, and Yannis Manolopoulos. "Mining in Music Databases." In Data Warehousing and Mining. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-951-9.ch224.
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This chapter provides a broad survey of music data mining, including clustering, classification and pattern discovery in music. The data studied is mainly symbolic encodings of musical scores, although digital audio (acoustic data) is also addressed. Throughout the chapter, practical applications of music data mining are presented. Music data mining addresses the discovery of knowledge from music corpora. This chapter encapsulates the theory and methods required in order to discover knowledge in the form of patterns for music analysis and retrieval, or statistical models for music classification and generation. Music data, with their temporal, highly structured and polyphonic character, introduce new challenges for data mining. Additionally, due to their complex structure and their subjectivity to inaccuracies caused by perceptual effects, music data present challenges in knowledge representation as well.
Conference papers on the topic "Digital editing; Musical audio analysis"
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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina, and Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.
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CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.