Dissertations / Theses on the topic 'Digital music files'

Die Zeiten der Plattensammlung sind vorbei, Kassetten und CDs sind der MP3-Datei gewichen und nun wird Musik ausschließlich gestreamt. Dieses Zukunftsszenario ist bis dato noch nicht eingetreten, aber wird dies überhaupt passieren? Wird der Kauf von physischen Musikdatenträgern und digitalen Musikdateien dank der immer stärker ansteigenden Streaming Aktivitäten komplett eingestellt? Oder können beide Formen nebeneinander existieren? Um diesen Fragen auf den Grund zu gehen, wurde im Rahmen dieser Arbeit eine Umfrage mit 1.661 Studenten der Technischen Universität Dresden durchgeführt. Die Ergebnisse geben Aufschluss über die Nutzungshäufigkeiten von kostenfreien und kostenpflichtigen Streaming Anbietern sowie von CDs / Schallplatten und MP3 Musikdateien. Zudem wird aufgezeigt, dass eine geringe Zahlungsbereitschaft bei den Studenten besteht. Es werden bereits selten mehr als 5 € in Musik investiert, doch seitdem die Studenten Streaming Dienste nutzen, geben sie nach eigenen Angaben noch weniger Geld für Musik aus als zuvor. Diesem Negativtrend steht die Erkenntnis gegenüber, dass die Probanden seit der Nutzung von Streaming Angeboten weniger Musik illegal herunterladen. Auch wenn der Großteil weniger Musik kauft, so ist es etwa der Hälfte aller Befragten sehr wichtig, Musik zu besitzen, vor allem in physischer Form. Zudem wurden Nutzungsmotive der Möglichkeiten des Musikhörens erfasst, um deren Stärken und Schwächen aufzuzeigen. Die Ergebnisse verdeutlichen, dass die kostenfreie Variante des Streamens zwar häufig genutzt wird, sich die traditionellen Musikdatenträger und Musikdateien jedoch immer noch großer Beliebtheit erfreuen. Von einer kompletten Verdrängung des Kaufens von Musik kann demnach nicht ausgegangen werden.

Music Education
Ph.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses

Music Education
Ph.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses

Music Composition
D.M.A.
Transfigurations is a symphonic work in one movement for orchestra and live computer processing utilizing the graphical audio programming language Pure Data. The score and patch for this piece are accompanied by an essay describing the audio processing techniques and the compositional processes employed in this work. Programming methods discussed include strategies for data capture, patch structure, user interface, and processor management. All audio processing in the work is realized in realtime. These sounds are derived directly from the orchestra in performance, except for the last. The processes involved in Transfigurations include pitch and amplitude tracking, pitch-shifting, filtering, frequency and amplitude modulation, granular synthesis, delay, and convolution. The final sounds from the computer employ stochastic processes for synthesis which are derived from the germinal materials of the piece. The essay also discusses the aesthetic philosophy and formal structure of the work, principle themes and motives, and formative pitch materials, as well as the compositional processes in each section. The final discourse of the essay considers microphone and loudspeaker setups, patch preparation and leveling, and strategies for rehearsal and performance.
Temple University--Theses

Record companies are suffering due to a downturn in recorded music sales. Innovative firms have developed digital music services that offer recorded music products to customers in new ways, yet sales are not what they used to be. Web 2.0 technologies have changed the customer’s tastes, expectations, and desires. Thus, a deeper understanding of the new “digital customer” is needed in order to better offer services in a way that he or she prefers most.

This thesis examines the transformations of music circulation and consumption brought about by new media platforms. Specifically, it shows how the social and technical design of online music platforms link the consumption of music immanently to its circulation. The thesis makes contributions to ethnomusicology, media studies, and digital anthropology, as well as to the study of music's technical cultures. It is based on a comparative ethnographic study of music circulation and consumption within two field sites: the commercial streaming service Spotify and the extralegal, unlicensed peer to peer platform 'Jekyll'. Governance comes to the fore in both sites: the study shows how practices of music curation, collection and consumption are regulated by the technical design of these platforms. Surprisingly, music consumption and circulation on Jekyll generates a variety of social relations, including pronounced social hierarchies. This is far less apparent on Spotify, due to the platform's individuated mode of address. The subjectivities of online music consumers are mediated by both their personal histories and by the broader technical genealogies of the platforms they use. The thesis illuminates the mutual interdependencies of the licensed and extralegal spheres, two domains often portrayed as not only separate but antagonistic. It also provides insight into the hybrid modes of exchange that generate digital music platforms. Through examining the entailments of circulatory participation, the study offers new insights into digital polymedia and to labour, exchange and governmentality online, as well as providing nuanced understandings of the ownership and collection of music in digital environments. Moreover, it advances new concepts to identify core aspects of digital music cultures, namely 'circulatory maintenance' and 'circumvention technology'. The thesis shows overall how Spotify and Jekyll are not merely emblematic of emergent consumption practices engendered by new media, but are bound up in the mutual co-creation of culture, engendering novel musical subjectivities, practices, socialities and ideologies. The complex musical, technical and social assemblages formed around music circulation online point to the affective potentials of music itself, producing inalienable attachments to the objects through which music is formatted, experienced, and circulated.

Der Aufsatz diskutiert Normdaten zu musikalischen Werken in der GND und erörtert Möglichkeiten ihrer (Nach-)Nutzung in bibliothekarischen und musikwissenschaftlichen Kontexten. Herausforderungen sowohl des theoretischen Konzepts als der praktischen Umsetzung werden benannt und das Potenzial der in den Normdaten enthaltenen Informationen wird aufgezeigt.
The paper discusses conceptual matters and implementation practices for authority information for musical works in the German authority file (GND). Options of re-use of the authority data in libraries as well as in musicological contexts are introduced. Challenges of theoretical concepts as well as practical realization are shown and potentials of information included in authority files are demonstrated.

We present an in-depth analysis of the music industry and use our findings to judge the practical assumptions and design of an original theoretical model. The model is in three stages, where, in a Hotelling-type framework, the last agents to act are consumers who choose between copying, purchasing, or staying out of the market for music. Prior to the last stage, the record label chooses its profit maximizing price and, in the first stage, we incorporate the artist-label bargaining agreement into a theoretical framework using the Nash cooperative bargaining solution. The current structure of the music industry is a combination of the oligopoly and monopolistic competition models, consisting of five major labels and many independents. Despite major labels' advantage in large-scale distribution, we argue that digital downloading has the potential to radically alter the current industry structure, and that artists would be unable to sell their music in such an environment without enforceable copyrights. Our model assumes that the most important determinants of CD and copy demand are consumers' tastes and transaction costs of copying, CD prices, and the substitutability between CDs and copies. We hypothesize that Internet file-sharing has been undertaken by both consumers who were previously not in the market, and by those who decided to copy rather than buy. In regard to firm strategy, the model suggests that labels could increase the sales of CDs by trying to increase consumers' taste for music, perhaps by reducing the price of CDs. Our model also predicts a positive relationship between artists' optimal share of album sales and their bargaining power, as well as a negative relationship between artists' optimal share and their risk aversion. Since lowering the reliance on labels for distribution would increase artists' bargaining power, our model predicts that artists' share of profits should increase as legitimate digital distribution gains prominence. We also provide empirical testing of our hypothesis that some music file-sharing has been done by consumers frequently not in the market. After examining consumers' expenditures and aggregate industry sales, we are unable to reject our hypothesis

In this study we investigate how the attitude and behaviour concerning illegal file shar-ing have changed among the young population in Sweden. The study will analyze the impact of the IPRED law that was introduced in April 2008 and new digital media ser-vices that have emerged in the last couple of years. It is also evaluated which of these have had the most impact on the attitude and behaviour of the selected population.

The main part of our research consists of a quantitative survey handed out to a sample population among high school students (ages 16-20) in Jönköping, Sweden. This pri-mary data is later compared to secondary data from a similar study that was done on the same demographics two years prior to this research in order to measure the change in behaviour and attitude. The previous study was conducted prior to the IPRED law im-plementation by one of the authors. We also used prior research within this subject and related fields to further understand and interpret our data.

What we have discovered through our research is that there has been a decrease in ille-gal file sharing, especially when considering music, however this decrease is much more an effect of the adopting of new media services then it can be attributed to the IPRED law. Furthermore, the attitudes towards file sharing have remained unchanged and a large number of young adults do not feel that file sharing should be illegal.

It is also concluded that good legal alternatives to file sharing have a large market po-tential if these services can fulfil consumers demand on availability and price. Addition-ally we have found that good legal alternatives are important if the public is to refrain from returning to their old file sharing habits once the initial scare from new legislation has worn off.

Cette thèse s’intéresse à l’expérience des biens culturels en régime numérique. Trois enjeux sont adressés. Premièrement la dématérialisation des supports qui pose la question des modalités d’attachement aux choses. Les individus retrouvent l’aura perdue avec la numérisation des biens culturels en cherchant un “idéal d’authenticité” et en singularisant leur expérience de consommation. Les façons de gérer, d’ordonner et de classer les biens ont également changé, se déplaçant vers des modes idiosyncrasiques de classement. Le deuxième enjeu concerne la confrontation à l’abondance de l’offre disponible qui invite à comprendre les formes d’exploration et de sélection des biens culturels, en particulier les formes autonomes de découverte des biens en ligne. Les résultats montrent comment le numérique permet un retour du mode de la “prise” et du recours à la sérendipité. Les derniers chapitres traitent la question des transformations des modalités de consommation, avec en premier lieu les formes d’optimisation que permet le numérique en facilitant la gestion entre le stock et le flux. Enfin, la thèse s’intéresse à la façon dont les individus mobilisent les biens culturels pour se mettre dans certains états émotionnels et cognitifs, au travers notamment de trois régimes : l’évasion, l’accompagnement et la rentabilité. Le terrain repose sur deux matériaux. D’une part, 63 entretiens semi-directifs menés aux domiciles des enquêtés, et diversifiés à la fois par âge, genre, niveau de diplôme, lieu de résidence et PCS. D’autre part, une étude quantitative par questionnaire structurée par méthode des quotas. Les données recueillies ont fait l’objet d’une analyse multifactorielle (ACM) et d’une classification (CAH)
This thesis focuses on the experience of cultural goods in a digital environment. Three issues are addressed here. First, the dematerialisation of media, which raises the question of the modalities of attachment to commodities. By seeking an "ideal of authenticity" and making their consumer experience unique, individuals regain the aura that has been lost with the digitisation of cultural goods. The approach to managing, ordering and classifying cultural goods has also changed, moving towards idiosyncratic patterns of classification. The second issue concerns the confrontation with the abundance of the cultural offer, which invites us to reflect upon the forms of exploration and selection of cultural goods, in particular the autonomous forms of discovery of online contents. The results show how digital technology allows a return to the "catch" mode and the use of serendipity. The final chapters deal with the topic of changes in consumption patterns, with first and foremost the forms of optimisation that digital technology allows by facilitating management between stock and flow. Finally, this work focuses on how individuals mobilise cultural property to put themselves in certain emotional and cognitive states, in particular through three regimes: escape, support and profitability. The research is based on two types of empirical material. On the one hand, 63 semi-directive interviews conducted at the respondents' homes, and diversified by age, gender, educational background, place of residence and PCS. On the other hand, a quantitative study by questionnaire structured by quota method. The data collected were subjected to multifactorial analysis (MCA) and classification (AHC)

Die Zeiten der Plattensammlung sind vorbei, Kassetten und CDs sind der MP3-Datei gewichen und nun wird Musik ausschließlich gestreamt. Dieses Zukunftsszenario ist bis dato noch nicht eingetreten, aber wird dies überhaupt passieren? Wird der Kauf von physischen Musikdatenträgern und digitalen Musikdateien dank der immer stärker ansteigenden Streaming Aktivitäten komplett eingestellt? Oder können beide Formen nebeneinander existieren? Um diesen Fragen auf den Grund zu gehen, wurde im Rahmen dieser Arbeit eine Umfrage mit 1.661 Studenten der Technischen Universität Dresden durchgeführt. Die Ergebnisse geben Aufschluss über die Nutzungshäufigkeiten von kostenfreien und kostenpflichtigen Streaming Anbietern sowie von CDs / Schallplatten und MP3 Musikdateien. Zudem wird aufgezeigt, dass eine geringe Zahlungsbereitschaft bei den Studenten besteht. Es werden bereits selten mehr als 5 € in Musik investiert, doch seitdem die Studenten Streaming Dienste nutzen, geben sie nach eigenen Angaben noch weniger Geld für Musik aus als zuvor. Diesem Negativtrend steht die Erkenntnis gegenüber, dass die Probanden seit der Nutzung von Streaming Angeboten weniger Musik illegal herunterladen. Auch wenn der Großteil weniger Musik kauft, so ist es etwa der Hälfte aller Befragten sehr wichtig, Musik zu besitzen, vor allem in physischer Form. Zudem wurden Nutzungsmotive der Möglichkeiten des Musikhörens erfasst, um deren Stärken und Schwächen aufzuzeigen. Die Ergebnisse verdeutlichen, dass die kostenfreie Variante des Streamens zwar häufig genutzt wird, sich die traditionellen Musikdatenträger und Musikdateien jedoch immer noch großer Beliebtheit erfreuen. Von einer kompletten Verdrängung des Kaufens von Musik kann demnach nicht ausgegangen werden.:1. Einführung und Relevanzbegründung 2. Musik Streaming Dienste 2.1. Begriffsdefinition 2.2 Technologische Aspekte 2.3 Rechtliche Aspekte 2.4 Wirtschaftliche Aspekte 3. Der Musikkonsum im Umbruch 3.1 Der Musikkonsum im Wandel 3.1.1 Die fortschreitende Digitalisierung 3.1.2 Die aktuelle Musiknutzung 3.2 Die deutsche Musikindustrie – Nutzung, Absatz und Umsatz 3.2.1 Aktuelle Absatz- und Umsatzzahlen 3.2.2 Zwei Zukunftsszenarien 4. Musik Streaming Dienste im Fokus der Forschung 4.1 Aktuelle Studien zum Musik Streaming 4.2 Die Digital Natives als Zielgruppe 5. Das Forschungsvorhaben 5.1 Herleitung der Forschungsfragen und Hypothesen 5.2 Erhebungsmethode 5.3 Zielgruppenbestimmung und Grundgesamtheit 5.4 Die Online-Befragung 5.4.1 Aufbau und Durchführung 5.4.2 Beschreibung der Stichprobe 6. Darstellung und Auswertung 6.1 Die Nutzung von Musik als Stream, physisches und digitales Medium 6.2 Einflüsse der Musik Streaming Dienste auf das Kaufverhalten 6.3 Zahlungsbereitschaft für Musik 6.4 Nutzungsmotive für die vier Optionen des Musikhörens 7. Diskussion 7.1 Kritik und Interpretation der Ergebnisse 7.2 Ein Ausblick auf die Zukunft 8. Literatur 9. Anhang A. Fragebogen B. Email-Anschreiben an alle TU Dresden Studenten C. Weitere Tabellen

碩士
國立臺中科技大學
資訊工程系碩士班
101
Modern network resources more abundant, any information that almost all the way through a web search to find, for example: sheet music. In the computer and Internet age has not yet appeared, one can only print sheet music by watching for musical instrument playing, now in addition to being able to find a wide range of Internet sheet music, including the piano, violin, guitar so the music, and even has a computer editing software can make your own music functions. This paper aims to analyze sheet music, according to music theory foundation for sheet music cutting and notes which identification. In the image segmentation method, the threshold value method using the image information will be necessary to stay. The identification method of the note, the image recording sheet music score for each of a line of each position and the template image using the method making notes, by SAD algorithm for each note in the score difference block matching, and then obtain the notes determine the location of the level of its scales, each note will be converted into digital notation, which may eventually be converted into digital notation MIDI file format on your computer for music playback. Part of the experiment, we used digital sheet music scores and scanned images to experiment, the accuracy of the note recognition is very accurate, the execution time is also very fast, showing the use of this method to establish the way the note template image identification sheet music can be effectively.

碩士
元智大學
資訊工程研究所
88
Following with the improvement and universality of Internet, digital technology has become much more essential than ever since. Internet, not just a traditonally defined medium, but has also been used as a new marketing channel, resulting in a number of remarkable influences and progresses to the commercial activities. Recently, owing to the development of digital compressed technology, the popularity of personal computer, and the faster speed of the Internet connection, Internet users are offered a new method to listen to music, which is the digital compressed audio. Among its various formats, MP3 is undoubtedly the most influential one for its several advantages. First of all, it is easy to make MP3 with a support by plenty of applications on PC. Moreover, its small size of file volume can be easilier transmitted in the cyberspace. Above of all, users can always get many a MP3 file for free via Internet. As a consequence, more and more people turn to use MP3 and this tendency has forced the record industry to begin to view it seriously. Based on ''Uses and Gratification Theory'', this exploratory research studies the MP3 users, and tries to explore their behaviors, motivations, gratification levels of using MP3. Furthermore, the paper will analyze the influence of using MP3 on the users掊abit in listening to music and their purchasing behavior of music product. The methodology of this research adopts the electronic survey over 467 cases through Web and face-to-face interview of 9 users. In overall, the result of this research indicates that Audio CD and MP3 files are the most popular music media in use and the most common music player is Audio CD player. Most users have got touch with MP3 for over a year. The major source of MP3 information is from the reports on the Internet mediums or web sites for the first time, and also from their kith and kin. In addition to the transmittion of illegal MP3 files over Internet, the exchange and sharing among friends is one of the most important reasons why MP3 spreads so quickly. In terms of the motivation of using MP3, this research induces four principal factors: characteristic of the Internet and MP3, social interaction, gaining musical information, and the usage of medium. The characteristic of the Internet and MP3 is the most important factor that attracts users to use MP3. However, as for the satisfaction of using MP3, users give better evaluation to the factor of the usage of medium. Turning to the influence of using MP3, through the result of this research, the time spent in (length of) listening to music would be unchanged or longer while the purchasing of musical products would be unchanged or decreased. In the viewpoint of MP3 users, depending on their demands, they would have different choices between purchasing audio equipments and Walkman. Thus, MP3 is more suitable for Walkman products while Audio CD or DVD audio is more suitable for family audio devices. As for the suggestions to the digital compressed audio file format development in the future, users consider improving the audio quality as the most critical task. The size of the file and the enhancement of functions, such as additional information, are also highly expected. By contrast and yet ironically, what is not anticipated by users is the technology of security and copy-protected of digital compressed audio file that the record industry cares most.

This thesis examines the evolution of digital copyright protection in response to the digital challenges, specifically unauthorized file-sharing, in the context of the music industry. It reviews the different strategies used to fight the peer-to-peer technology and its users so as to assess whether the direction which has been taken is in agreement with the ultimate goal of copyright and with other fundamental values of our modern society. It posits that the effort to strengthen the rights of copyright holders and thus maintain an old system of distribution in the face of new technology not only runs afoul the expectations of the public but also prevents the artists and the public from fully taking advantage of the new opportunities of the digital era. This thesis ultimately suggests that policy makers tackling the digital copyright reform should seriously consider legitimizing the use of file-sharing services as a possible way to better achieve the goals of copyright.

Les technologies ont façonné et façonnent les méthodes de travail des compositeurs de musique à l’image : en termes de communications, de méthodologie et au niveau des compétences requises. De La Planète Interdite au Covid-19, nous examinerons comment les méthodologies de travail des compositeurs de musique à l’image ont changé au fil des ans.
Technologies have shaped, and still do so, the way music composers for screen work: communication-wise, in their creative workflow and in their skill sets. From Forbidden Planet to Covid-19, we will examine how and in what way the workflows of music composers have changed throughout the years.

碩士
世新大學
廣播電視電影學研究所(含碩專班)
102
Abstract With the rapid development of high-tech digitized, we enter an era of up-to-dated all the time. New information and concepts are spreading through the computer and internet portable device. New media is becoming the major way to gain living intelligence, new information, communication and entertainment. In response to this new media trend, NSC introduce new digital media popular science film production program in regard to the innovation and development on agriculture, environmental protection, ecology, applied science, digital learning, art and other five areas. By the production team were planning to produce five sections of science and digital video, uploaded on the Internet, so that the audience can carry through a computer or network device to enjoy, to easily absorb popular science knowledge. The researcher is responsible for editing the soundtrack in this digital video production project. The report will be produced based on the principles of four music editor integrated from the literature review and production purpose. There are five short movies with total eleven soundtracks editing process which from the pre-production's preparation and planning, the considerations and design during the production to the post-production's adjustment and test are detailed in the report. The report focuses on assisting swing smoothly communicate popular scientific knowledge and create a relaxed atmosphere, so that the audience willing to read popular science topics sustained attention. Another focus of this technical report is to assist non-professional music arranger with simple concepts and methods, the use of digital music technology to edit out the effect of a good movie soundtrack, so that more people willing to put in the ranks of musical creation. Due to the popularity of high-speed Internet and high-performance digital portable device, everyone can create their own audio-visual works, the creator of such investment was also found exponential growth. Although portable device can pick up the video, but the film soundtrack music was often considered to be non-professional and easy to make your own, it is not the case. This technical report attempts to basic concepts of computer music, editing and music theory integration implementations, methods and procedures to non-music professionals can perform to demonstrate, hoping to popularize the concept of digital music, so music can be the same as the image creation more easily.