Academic literature on the topic 'Digital music players'
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Journal articles on the topic "Digital music players"
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Zhang, Shangxuan. "Analysis the Enhancement of User Game Experience Based on Digital Media Designing." Lecture Notes in Education Psychology and Public Media 54, no. 1 (June 4, 2024): 30–36. http://dx.doi.org/10.54254/2753-7048/54/20241567.
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In the context of the digital era, video games, as an emerging form of entertainment, have become the focus of research in terms of their design and optimization of user experience. This study focuses on the application of digital music in games and its impact on player experience, aiming to reveal how music elements deepen the immersion and emotional resonance of games. According to the analysis, digital music significantly enhances game immersion and players' emotional engagement through dynamic music systems, close integration with game narratives, and innovative applications in virtual reality (VR) and augmented reality (AR) games. In particular, games such as Traveler provide players with a unique empathic experience and deep emotional impact through well-designed music and sound interactions, demonstrating the central role of music in enhancing game narratives and building game worlds. However, the study also points out the technical, subjective, and culturally sensitive limitations of digital music in game design, challenges that need to be faced and overcome by future game developers and music creators alike.
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Kamaruddin, Nur Zaheera Zailan, and Hasrul Hashim. "Penerimaan dan Cabaran Inovasi Muzik Digital Terhadap Industri Muzik di Malaysia." Jurnal Komunikasi: Malaysian Journal of Communication 40, no. 2 (June 30, 2024): 262–80. http://dx.doi.org/10.17576/jkmjc-2024-4002-15.
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Acceptance and Challenge of Digital Music Innovation to the Music Industry in Malaysia ABSTRACT: Music is an important element that greatly influences society through cultural adaptation and creativity. It is constantly evolving and innovating along with technological changes and advances. The development of digital music has had a significant impact on the adaptation of Malaysian musicians to technological advances. This paper examines aspects of the acceptance and challenges of digital music innovation among musicians in Malaysia. Christensen's perspective on disruptive innovation has been used as a research framework to understand these aspects of the acceptance of innovation more clearly. Five prominent Malaysian industry players were interviewed as informants to collect data on acceptance-related aspects. The results show that Malaysian industry players are embracing the digital revolution, especially with the emergence of digital streaming platforms such as TikTok, YouTube, Spotify, Instagram and SoundCloud, which facilitate fan access and help to accept work. The strengths and weaknesses of the local music industry structure can also be identified, where the overall economic picture shows a positive impact despite the difficult transition to digital media. Overall, local industry players accept the changes in Malaysian digital music innovation and adapt to technological progress. This innovation is viewed as a wide-ranging opportunity for industry players to better understand the current landscape and take appropriate measures to ensure the continuous development of the Malaysian music industry. Keywords: Digital music, innovation disruption, digital platform, Malaysian music industry, technology.
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Maurya, Akash Kumar, Vandana, Abhishek Kumar, and Abhinav Kumar. "Music Player Box." International Journal for Research in Applied Science and Engineering Technology 11, no. 11 (November 30, 2023): 2657–61. http://dx.doi.org/10.22214/ijraset.2023.57108.
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Abstract: In the realm of digital media, music players have emerged as indispensable tools for organizing, managing, and enjoying personal music collections. This project aims to develop a comprehensive music player application that caters to the diverse needs of modern music enthusiasts. The proposed application will encompass a wide range of functionalities, including seamless music playback, efficient music organization, and personalized user experience. The proposed music player application will be developed using a modern software development framework, ensuring crossplatform compatibility and adherence to industry best practices. The application's architecture will be designed to handle large music libraries efficiently and provide a responsive user experience. The primary objective of this project is to develop a comprehensive music player application that caters to the diverse needs of modern music enthusiasts. The application will provide users with a seamless and enjoyable experience for organizing, managing, and playing their personal music collections. It will encompass a wide range of functionalities. The development of a versatile and user-friendly music player application holds significant value in the realm of digital media. By providing seamless music playback, efficient music organization, and a personalized user experience, this application will empower users to enjoy their music collections to the fullest.
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Nogueira, Pedro, Rui Rodrigues, Eugénio Oliveira, and Lennart Nacke. "Guided Emotional State Regulation: Understanding and Shaping Players’ Affective Experiences in Digital Games." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, no. 1 (June 30, 2021): 51–57. http://dx.doi.org/10.1609/aiide.v9i1.12678.
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Designing adaptive games for individual emotional experiences is a tricky task, especially when detecting a player’s emotional state in real time requires physiological sensing hardware and signal processing software. There is currently a lack of software that can identify and learn how emotional states in games are triggered. To address this problem, we developed a system capable of understanding the fundamental relations between emotional responses and their eliciting events. We propose time-evolving Affective Reaction Models (ARM), which learn new affective reactions and manage conflicting ones. These models are then meant to provide information on how a set of predetermined game parameters (e.g., enemy and item spawning, music and lighting effects) should be adapted, to modulate the player’s emotional state. In this paper, we propose and describe a framework for modulating player emotions and the main components involved in regulating players’ affective experience. We expect our technique will allow game designers to focus on defining high-level rules for generating gameplay experiences instead of having to create and test different content for each player type.
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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Can Competitive Digital Games Support Real-Time Music Creation?" Journal of Sound and Music in Games 3, no. 1 (January 1, 2022): 1–35. http://dx.doi.org/10.1525/jsmg.2022.3.1.1.
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This article presents practice-based research exploring the interplay of real-time music creation and competitive gameplay. Musically creative video games, apps, and sound art are first surveyed to highlight their characteristic avoidance of competitive game elements. The relationship between play, games, and musical activity is then examined with reference to theoretical perspectives from ludomusicology and game studies, revealing a series of mechanical and aesthetic design tensions emerging between competitive gameplay and music creation. Two original music games are presented to explore this interplay across contrasting design approaches: EvoMusic engenders an abstract competitive dialogue between the player and system for authorial control, while Idea presents a more explicit ludic framework with goals, progression, danger, and victory. The games are evaluated in a comparative user study to capture the player experience of composing within competitive game settings. Participant responses revealed conflicting expectations for ludic and compositional experiences. Idea was the preferred game, yet its strong ludic elements distracted from or disincentivized music creation; EvoMusic offered more focused music creation yet also a weaker gameplay experience for lacking these same competitive elements. This relationship reflects the theoretical design tensions suggested by ludomusical scholarship. Further, a majority of participants characterized EvoMusic as being simultaneously competitive and creatively stimulating. The implication is that competitive games can support music creation for certain players, though it remains challenging to satisfy expectations for both within any one system. Design recommendations are drawn from these insights, and the potential for future research into creative music games is discussed.
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Saunders, Muriel D., Kent A. Questad, Timothy B. Cullinan, and Richard R. Saunders. "Adapted digital music players for individuals with severe impairments." Behavioral Interventions 26, no. 2 (March 22, 2011): 161–66. http://dx.doi.org/10.1002/bin.327.
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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.
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Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.
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Putra, Riomanadona M., and Irwansyah Irwansyah. "Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik." Jurnal Komunikasi 11, no. 2 (October 30, 2019): 128. http://dx.doi.org/10.24912/jk.v11i2.4062.
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The release of physical music will never be extinct, as is technology disrupting audio technology. This article provides an explanation of physical music releases in the digital era, where vinyl records, audio and CD tapes are still consumed by connoisseurs and musicians alike. Although digital music players and online music applications such as Joox, Spotify, Apple Music or Sky Music is very important in the spread of music in the digital era. The attitude of independent musicians or who are familiar with the term indie musicians still maintains the release of physical music as a tool for the dissemination of their work. This article presents descriptive data from existing journals which are then combined with interviews to obtain depth about what shapes the attitude of indie musicians in using physical music releases and how indie musicians and indie music distributors collaborate in communicating works - indie musicians work through strategies that are done together. As well as what indie music absorbs local culture and how they influence their work and what their attitudes are. Do they not pay attention to the presence of digital distribution or even combine these two things. With the existence of this article, the description of the things that underlie the independent musicians released the music they made themselves with the release of physical albums. Rilisan musik fisik tidak akan pernah punah, sebagaimana pun teknologi mendisrupsi teknologi audio. Artikel ini memberikan penjelasan tentang rilisan musik fisik pada era digital, dimana piringan hitam (vinyl), kaset audio dan CD masih tetap dikonsumsi oleh para penikmat serta pelaku musik. Walaupun pemutar musik digital dan aplikasi musik secara online seperti Joox, Spotify, Apple Music ataupun Langit Musik sangat berperan penting dalam penyebaran musik di era digital. Sikap dari musisi independen atau yang akrab dengan sebutan musisi indie tetap mempertahankan rilisan musik fisik sebagai alat untuk penyebaran karya mereka. Penelitian ini bertujuan untuk melihat bagaimana rilisan musik fisik akan tetap bertahan, dan mengapa sebuah rilisan fisik menjadi hal yang dianggap penting bagi musisi Indie. Artikel ini menyajikan data-data secara deskriptif dari jurnal-jurnal yang ada yang kemudian di padupadankan dengan wawancara untuk memperoleh kedalaman tentang apa yang membentuk sikap dari para musisi indie dalam menggunakan rilisan musik fisik dan bagaimana musisi indie dan distributor musik indie melakukan kolaborasi dalam mengomunikasikan karya-karya musisi indie melalui strategi yang dikerjakan bersama. Serta seperti apa musik indie menyerap budaya lokal dan bagaimana hal tersebut memberikan pengaruhnya pada karya-karya mereka dan seperti apa sikap mereka. Apakah kehadiran distribusi yang dilakukan secara digital tidak mereka hiraukan atau malah menggabungkan kedua hal tersebut. Adanya artikel ini, memberikan gambaran hal-hal yang mendasari para musisi independen merilis musik yang mereka buat sendiri dengan rilisan album fisik.
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Bokul, Dr Md Mozammel Hossain. "Music Consumption on Digital Platforms: A Study on Bangladeshi University Students." International Journal of Research and Innovation in Social Science VII, no. VII (2023): 90–105. http://dx.doi.org/10.47772/ijriss.2023.70707.
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Because of advancements in information technology and the emergence of various digital platforms, there have been significant changes in the way people consume music over the years. Gramophones, audio cassette players, CD and DVD players, and other analog devices that were popular in the past, have become nearly obsolete. The internet and, later, smartphones were the primary drivers of change in the late 1990s. Since the mid-2000s, social media platforms like Facebook and YouTube, as well as online audio stores and streaming platforms like Spotify, iTunes, Amazon Music, Pandora, and SoundCloud, have become the most popular ways for people to listen to music on their smartphones. The internet has a much larger selection of music than traditional sources such as vinyl records, audio cassettes, CD-DVDs, or iPods, which have limited song storage capacities. This study focuses on the growing popularity of online music consumption among Bangladeshi university students. Apart from that, the study sought to explore how university students enjoy music on digital platforms, the platforms they use, whether they use these platforms to consume, or share pirated music, and the devices they use to do so. The researcher interviewed students from various departments at Rajshahi University using a social survey method. According to the study, Rajshahi University students have given up traditional music consumption methods in favour of various digital platforms. In this university, Facebook, YouTube, and Spotify are the most popular platforms for both male and female young students to enjoy music. Music consumption via digital platforms has become an integral part of their daily lives. Students also use social media to share their favorite songs from digital platforms with their family and friends. According to the study, the majority of the students does not listen to music from pirated sources and prefer free sources over digital platforms.
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Kazarova, V. S., and A. G. Mirakyan. "Music Business in the Digital Economy Age." Vestnik of the Plekhanov Russian University of Economics 20, no. 5 (September 29, 2023): 113–25. http://dx.doi.org/10.21686/2413-2829-2023-113-125.
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This article is devoted to the definition of new trends and managerial patterns in the music business, which are just beginning to develop as a result of the widespread expansion of digital technologies. The state of the music industry before the emergence and development of digital technologies is shown, prerequisites for radical changes are marked, in particular, the emergence of broadband Internet access and digital MP3 format, piracy and streaming technologies (streaming). The article examines the changes and new trends emerging in the music business in the digital era with the development of virtual reality, cancel culture, blockchain technologies, NFT and the sharing economy. The key changes in the overall business model and current management trends forming new determinants of the music business are shown. It is concluded that the world music industry has radically changed its appearance: the music business model itself is changing, and the general model of music information consumption is also being transformed. Music dematerializes and becomes more accessible - business players are constantly fighting for the digital attention of consumers. In general, there is a fragmentation of the music market. The authors raise topical issues that the scientific and practical community has yet to answer.
Dissertations / Theses on the topic "Digital music players"
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Chung, Tuck Siong. "My mobile music an adaptive personalization system for digital audio players /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7250.
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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.Thesis research directed by: Business and Management: Marketing. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Bolt, Jeffrey M. "iPod, You-pod, We All Pod For Stress Relief:An Investigation of Mood-Management Through Digital Portable Music Players." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1459350298.
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Lawson, Jesse. "The Compression and Expansion of Musical Experience in the Digital Age." ScholarWorks @ UVM, 2008. http://scholarworks.uvm.edu/graddis/133.
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As the record industry’s fortunes decline, consumers experience increasing access to the world’s recorded music, legally and otherwise, through digital technologies. At the same time, recordings not only take up less physical space (on hard drives and MP3 players), they are compressed — not just as data, but in terms of dynamic range. While it allows for constant audibility in noisy environments like cars and offices, dynamic range compression has frustrated many listeners for limiting the impact of the music and causing “ear fatigue.” These listeners long for access to the purity of the original recording before it was “squashed,” but the problem is that the original recording does not, in a sense, exist. Producers and mastering engineers assemble the tracks recorded and create a particular sonic product that can later be revisited and “remastered.” Ostensibly this process is meant to get closer to the original sound, but in reality it simply comprises a different manner of interpreting the existing recording. Theodor Adorno had written of surprisingly similar phenomena more than half a century ago in essays like “The Radio Symphony” and the notes collected in Towards a Theory of Musical Reproduction. Though infamous for his hostility toward popular music and its “infantile” listeners, Adorno’s writings on music contain much that is valuable for an understanding of how pop works in the digital age. Combined with a consideration of works on music and postmodernity by Fredric Jameson, Jacques Attali, François Lyotard and others, Adorno’s work helps one to consider how reification continues to work in an era where music is seemingly no longer a “thing.”
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Rinsema, Rebecca Marie. "Listening in Action: Students' Mobile Music Experiences in the Digital Age." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4396.
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Since the introduction of the iPod in 2001, portable music listening devices that play or stream compressed music files have steadily become the standard devices used to listen to music. Despite this, few music education researchers have investigated the role that such devices have in shaping students' music listening experiences. This dissertation is meant to fill that gap in the literature and contribute to the existing sociological and psychological literature on music listening in everyday life.
Phenomenology served as the theoretical framework for the design of the study. 10 college students from three institutions underwent iterative interviews and were asked questions developed from McCarthy and Wright's (2004) Deweyan method for investigating user experiences with technology. The questions fell into five categories: sensual, emotional, compositional, spatio-temporal, and the sense-maker. The participants' responses were digitally recorded, transcribed, and analyzed using grounded theory methods. The following four axial codes emerged from the data and were used to divide the dissertation into chapters: "Embodying the Experience," "Organizing the Experience," "Navigating Real and Virtual Spaces," and "Developing the Self."
The main finding articulated in the chapter entitled "Embodying the Experience" is that the participants located the music in their heads while listening to music on their devices using headphones or earbuds. In contrast, participants consistently reported that, when listening to music through open-air speakers, they experienced the music as being located everywhere or in their whole bodies.
The main finding in the chapter entitled, "Organizing the Experience," is that participants exercised agency in their music listening experience by creating playlists. Typically, playlists were created by the participants to be used in conjunction with other activities such as exercising, studying, commuting, and so forth. I used these findings to develop the concept of "Integration in Consciousness" which models the participants' simultaneous engagement with the music and other activities.
In the chapter entitled "Navigating Real and Virtual Spaces," I explore how the participants simultaneously navigated the spatial aspects of the music listened to on their players and the spatial aspects of the physical spaces within which their activities naturally occurred. In doing so, I provide an example of how the participants experienced music and activities as "Integrated in Consciousness."
In chapter seven, "Developing the Self," I explore how the participants' uses of their devices reflect their development as adolescents. In addition, I propose that participants' uses of their devices may be constitutive of their adolescent development.
Finally, in chapter eight, I explore the ways in which music teachers can utilize the findings of this study in the development of their own classroom pedagogies. Among other things, I propose that music teachers can use the "Integration in Consciousness" model to help their students communicate about their music listening experiences in the classroom. In the use of this model, music teachers can tailor their pedagogies specifically for the technology rich, "post-performance" world within which they teach.
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Gumaste, Nitin S. "An experiment in portable escapism : storytelling and the iPod." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1345339.
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This study examines the possibility of creating original video-based content for the video-enabled iPod that was released in October 2005. Current trends show that existing content created for conventional media like television, cinema and computers are simply being ported over to this new medium. However, when this project began, none of the production studios are concentrating on creating content specifically for this medium, which has its own unique properties like portability, screen size and the ability to easily start and pause content as required. The purpose of this project is to prove that such medium-specific content can be created and made financially viable for the creators. Further, this hypothesis is put to the test by presenting it to a group of Ball State University students and their responses are examined in detail.Department of Telecommunications
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Aarthun, Tobias, and Marko Sokolovic. "Adaptiv musik i digitala spel : dess funktion och inverkan på spelaren." Thesis, Blekinge Tekniska Högskola, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-16765.
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Adaptiv musik gör det möjligt för spelutvecklare att implementera musik som reagerar på andra spel-parametrar. Därmed kan musiken följa spelets narrativ i realtid och på så vis bidra till en uppslukande upplevelse. I ett spel med adaptiv musik innehar spelaren agens och inverkan på musiken, samtidigt som musiken också innehar agens och inverkan på spelaren. Vi har i detta kandidatarbete undersökt hur den adaptiva musiken skulle kunna påverka spelarens prestationsförmåga genom att titta på element som kan ha inflytande i den här frågan, till exempel musikens funktioner och stress. Vi har bedrivit tester samt kombinerat kvantitativa och kvalitativa metoder för att både kunna fördjupa oss i frågan och gå in på detaljerna, men samtidigt erhålla bredare och mer övergripande kunskap om den adaptiva musikens roll i spel. I texten skildrar vi det praktiska arbetet med alla dess tekniska ingredienser som vi utförde för att skapa och implementera adaptiv musik i spel. Vi erbjuder avslutningsvis även en redogörelse av den insamlade datan, en metodiskt utförd analys, samt en djupgående diskussion som reflekterar över arbetet och föreslår hur man skulle kunna fortsätta undersöka detta ämne.Adaptive music allows game developers to implement music that responds to other game parameters. Thus, the music can follow the game's narrative in real time, thereby contributing to an immersive experience. In a game with adaptive music, the player has agency and influence on the music, while at the same time the music also has agency and influence on the player. In this bachelor thesis, we have investigated how adaptive music could affect player performance by looking at elements that may influence this issue, such as music features and stress. We have conducted tests as well as combined quantitative with qualitative methods which enabled us to dive deeper in this question and get into the details, while at the same time obtaining broader and more comprehensive knowledge about the role of adaptive music in games. In the text, we describe the practical work with all of it’s technical ingredients that we performed to create and implement adaptive music in a game. Finally, we also provide an account of the collected data, a methodically conducted analysis, and an in-depth discussion that reflects on the work and suggests how to continue researching this subject.
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Kim, Jeong Ah. "Study on developing a potential way-finding map design of an iPhone & iPod web application for Rochester Institute of Technology (RIT) Library /." Online version of thesis, 2010. http://hdl.handle.net/1850/11752.
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Williams, Marilyn Anne 1961. "Examining the efficacy of using iPod Touches to deliver reading comprehension strategy instruction and to provide electronic text support on the reading comprehension performance of sixth-grade students." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10997.
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xvi, 120 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Instructional use of the iPod Touch is increasing as evidenced by anecdotal reports of its efficacy as a learning tool. However, research documenting the impact of this technology has been limited. This study was based on the following research questions: (a) Does providing explicit reading comprehension strategy instruction using an iPod Touch increase students' reading comprehension outcomes based on standardized reading tests and multiple-choice probe measures when compared to a No Support comparison group? (b) Does providing different types of electronic text support increase students' reading comprehension outcomes, and if so, which type of support is most effective? (c) Does providing different levels of electronic text support influence students' attitudes toward the use of comprehension strategies as well as using an iPod Touch for this task? Participants included 155 sixth-grade students at a public middle school. Students were randomly assigned to one of three intervention groups; (a) Notational Only support (a note-taking sheet), (b) Notational + Instructional support (embedded prompts), and (c) Notational + Instructional + Translational support (audio version of the text and prompts) and received reading comprehension strategy instruction and text support using an iPod Touch. An intact No Support ( N = 61) group that did not receive instruction or text support but read the texts using an iPod Touch was used as a quasi-experimental comparison group. Two standardized reading comprehension measures were employed at pretest and posttest as well as researcher developed probe measures that were used throughout the study. An ANOVA analysis determined that no statistically significant differences existed between the groups at pretest. An ANCOVA with pretest scores as a covariate found no statistically significant differences between groups on the standardized reading comprehension measures. Because of a high level of variation among the probe measure data, including significant missing data, these results were not analyzed statistically and were reported descriptively. Students responded positively to survey questions about using the iPod Touch for summarization strategy instruction and the text supports.
Committee in Charge: Dr. Edward J. Kame'enui, Chair; Dr. Kathleen Scalise; Dr. Louis Moses; Dr. Lynne Anderson-Inman
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Baker, Rebecca Dawn. "Comparing the Readability of Text Displays on Paper, E-Book Readers, and Small Screen Devices." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28390/.
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Science fiction has long promised the digitalization of books. Characters in films and television routinely check their palm-sized (or smaller) electronic displays for fast-scrolling information. However, this very technology, increasingly prevalent in today's world, has not been embraced universally. While the convenience of pocket-sized information pieces has the techno-savvy entranced, the general public still greets the advent of the e-book with a curious reluctance. This lack of enthusiasm seems strange in the face of the many advantages offered by the new medium - vastly superior storage capacity, searchability, portability, lower cost, and instantaneous access. This dissertation addresses the need for research examining the reading comprehension and the role emotional response plays in the perceived performance on e-document formats as compared to traditional paper format. This study compares the relative reading comprehension on three formats (Kindle, iTouch, and paper) and examines the relationship of subject's emotional response and relative technology exposure as factors that affect how the subject perceives they have performed on those formats. This study demonstrates that, for basic reading comprehension, the medium does not matter. Furthermore, it shows that, the more uncomfortable a person is with technology and expertise in the requested task (in this case, reading), the more they cling to the belief that they will do better on traditional (paper) media - regardless of how well they actually do.
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Lever, Katie Marie. "Mobile music technology, communication isolation and community building an analysis of college students' use of digital entertainment." 2007. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.16720.
Full textBooks on the topic "Digital music players"
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shi, PCuSER yan jiu, ed. IPod meng huan cai gou jian ding tuan. Taibei Shi: Dian nao ren wen hua, 2006.
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Mitra, Ananda. Digital music: Computers that make music. New York: Chelsea House, 2010.
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Richard, Mansfield. The savvy guide to digital music. Indianapolis: Indy-Tech Publishing, 2005.
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The iPod & iTunes pocket guide: Ginormous knowledge, pocket sized. 5th ed. Berkkely, CA: Peachpit Press, 2010.
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Kelby, Scott. The iPod book: Doing cool stuff with the iPod and the iTunes store. 5th ed. Berkeley, Calif: Peachpit Press, 2009.
Find full textBook chapters on the topic "Digital music players"
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Redecker, Björn. "Sounding the Atmosphere." In Mental Health | Atmospheres | Video Games, 209–26. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-016.
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Game Sound and Game Music play a crucial role in creating virtual worlds. They are vital parts of digital games, filling them with life and undoubtedly enhancing the experience for players. Furthermore, they are key design elements in the sense that they can greatly support visual efforts to create certain atmospheres in digital games. However, the concept of atmospheres is hard to grasp. It is frequently used but rarely broken down to what it really means or implies. With these difficulties in mind, this paper aims to describe and discuss the interrelationship between sound, music, and atmosphere. It uses examples from the 2D-Adventure Inside (Playdead 2016) to illustrate these complex relations.
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Nickel, Vadim. "Generative Atmospheres." In Mental Health | Atmospheres | Video Games, 195–208. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839462645-015.
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Playing computer games is an active pastime: players are presented with a dynamic game scenario that requires various inputs in order to engage with its core game loop. To do so, the player must constantly pay attention to the game while performing actions to propel gameplay. However, some games can be experienced over multiple levels of engagement. Such games feature levels of engagement that may not require the constant provision of input to offer a meaningful experience. In these games, atmosphere reveals itself as the underlying structure, intricate enough to be experienced in its own right. Ambient music, a term coined by musician Brian Eno, is a genre that is meant to allow for different levels of engagement. This may reach from ambient music being a background accompaniment in a given setting, to being the center of listener attention. This article will identify a type of game that can be perceived in a similar vein. Such a game offers ambient modes of experience: It allows to be experienced over varying levels of engagement and intensities of interactions. The term ambient game is relevant in this context since the music genre of the same name is referenced here. This article will present existing definitions of ambient games that identify parallels between the creation and perception of ambient music and various modes of experiencing digital games. Based on these findings, this article will propose three ambient modes of experience that represent the varying intensities of player interaction within the diegetic boundaries of games.
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O’Regan, Gerard. "MP3 Player and Digital Music." In The Innovation in Computing Companion, 197–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02619-6_41.
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Beer, David. "The MP3 Player as a Mobile Digital Music Collection Portal." In Mobile Computing, 1168–74. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-054-7.ch096.
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MP3 players are often described as music collections in our pockets or the pocket jukebox. Indeed, it would seem that MP3 players have significantly transformed music collections, music collecting practices, and contemporary understandings of the music collection. The MP3 player may be used to store, retrieve, and reproduce digital music files, and, therefore, it can be described as a portal—if we define the term portal as an entrance, doorway, or gateway—into these simulated (Baudrillard, 1983) mobile music collections. It is an interface between the human body and archives of digitally compressed music. This can perhaps be understood as constituting a kind of musical cyborg, a cybernetic organism, a hybrid of human and machine (Haraway, 1991). The MP3 player, in this hybridised sense, is a gateway into the digital, virtual, or simulated (Baudrillard, 1983) material cultural realm of music, a mobilised cyber-collection. The question then is what becomes of the music collection and the music collector when music shifts from the objectified disc and spool to the digital compression format and MP3 player portal? And, what are the social and cultural implications of the MP3 player portal’s increasing pervasiveness and embeddedness in the flows of everyday life? The purpose of this article is to briefly introduce and discuss these questions alongside some of the technical details of the MP3 player. This article aims to use the material and technical details and definitions of the MP3 player to open up a range of possible questions that may be pursued in future research in this area. I will begin by defining the MP3 and the MP3 player.
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Daidj, Nabyla. "The Recorded Music Industry." In Sustainable Business, 1573–93. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9615-8.ch071.
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Beyond the definition of the music industry and the data-driven analysis of the music market, this chapter seeks to present some perspective and insight on the issues and challenges that will face the main players of the industry (“traditional” firms and new entrants) of music recording. The recorded music market is a complex one that has been affected by several different factors, including the new practices of many consumers, the technological advances, the intensely competitive players, and the supplier oligopoly of record labels. The digital revolution reinforces the risk of piracy, and this industry needs new standards of protection as illustrated by the illegal digital downloading music. This chapter analyzes the technology changes in the sector leading to a greater flexibility and diversity in the exploitation of artists' works. It shows the evolution of the international market structure towards an oligopolistic structure confronted with a competitive fringe.
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"The Recorded Music Industry." In Advances in Business Strategy and Competitive Advantage, 296–315. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-6513-2.ch011.
Full textAbstract:
Beyond the definition of the music industry and the data-driven analysis of the music market, this chapter seeks to present some perspective and insight on the issues and challenges that will face the main players of the industry (“traditional” firms and new entrants) of music recording. The recorded music market is a complex one that has been affected by several different factors, including the new practices of many consumers, the technological advances, the intensely competitive players, and the supplier oligopoly of record labels. The digital revolution reinforces the risk of piracy, and this industry needs new standards of protection as illustrated by the illegal digital downloading music. This chapter analyzes the technology changes in the sector leading to a greater flexibility and diversity in the exploitation of artists' works. It shows the evolution of the international market structure towards an oligopolistic structure confronted with a competitive fringe.
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Yoshikawa, Masataka. "Foreseeing the Future Lifestyle with Digital Music." In Selected Readings on the Human Side of Information Technology, 191–201. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-088-2.ch011.
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This chapter aims to explore the future trajectory of enjoying digital music entertainment among consumers comparing the characteristics of the usage patterns of digital music appliances in the U.S. and those in Japan. As the first step of this research, the author conducted two empirical surveys in the U.S. and Japan, and found some basic differences in the usage patterns of a variety of digital music appliances. Next, a series of ethnographical research based on focus-group interviews with Japanese young women was done and some interesting reasons of the differences were discovered. In Japan, sharing the experiences of listening to the latest hit songs with friends by playing them with mobile phones that have the high quality, ring tone functions can be a new way of enjoying music contents, while hard-disk music players like iPod have become a de facto standard of the digital music appliances in the world.
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Yoshikawa, Masataka. "Foreseeing the Future Lifestyle with Digital Music." In Human Computer Interaction, 1223–33. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-87828-991-9.ch077.
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This chapter aims to explore the future trajectory of enjoying digital music entertainment among consumers comparing the characteristics of the usage patterns of digital music appliances in the U.S. and those in Japan. As the first step of this research, the author conducted two empirical surveys in the U.S. and Japan, and found some basic differences in the usage patterns of a variety of digital music appliances. Next, a series of ethnographical research based on focus-group interviews with Japanese young women was done and some interesting reasons of the differences were discovered. In Japan, sharing the experiences of listening to the latest hit songs with friends by playing them with mobile phones that have the high quality, ring tone functions can be a new way of enjoying music contents, while hard-disk music players like iPod have become a de facto standard of the digital music appliances in the world.
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Yoshikawa, Masataka. "Foreseeing the Future Lifestyle with Digital Music." In Information Communication Technologies, 1809–19. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-949-6.ch127.
Full textAbstract:
This chapter aims to explore the future trajectory of enjoying digital music entertainment among consumers comparing the characteristics of the usage patterns of digital music appliances in the U.S. and those in Japan. As the first step of this research, the author conducted two empirical surveys in the U.S. and Japan, and found some basic differences in the usage patterns of a variety of digital music appliances. Next, a series of ethnographical research based on focus-group interviews with Japanese young women was done and some interesting reasons of the differences were discovered. In Japan, sharing the experiences of listening to the latest hit songs with friends by playing them with mobile phones that have the high quality, ring tone functions can be a new way of enjoying music contents, while hard-disk music players like iPod have become a de facto standard of the digital music appliances in the world.
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Yoshikawa, Masataka. "Foreseeing the Future Lifestyle with Digital Music." In Information Communication Technologies and Emerging Business Strategies, 59–75. IGI Global, 2007. http://dx.doi.org/10.4018/978-1-59904-234-3.ch004.
Full textAbstract:
This chapter aims to explore the future trajectory of enjoying digital music entertainment among consumers comparing the characteristics of the usage patterns of digital music appliances in the U.S. and those in Japan. As the first step of this research, the author conducted two empirical surveys in the U.S. and Japan, and found some basic differences in the usage patterns of a variety of digital music appliances. Next, a series of ethnographical research based on focus-group interviews with Japanese young women was done and some interesting reasons of the differences were discovered. In Japan, sharing the experiences of listening to the latest hit songs with friends by playing them with mobile phones that have the high quality, ring tone functions can be a new way of enjoying music contents, while hard-disk music players like iPod have become a de facto standard of the digital music appliances in the world.
Conference papers on the topic "Digital music players"
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Bezerra, Daniel Filgueira, Filipe Calegario, Giordano Cabral, and Geber Ramalho. "MySoundtrack: a tool for personalized and adaptive music listening while playing games." In Anais Estendidos do Simpósio Brasileiro de Games e Entretenimento Digital. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/sbgames_estendido.2021.19663.
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Adaptive soundtrack design for video games is an ever-evolving field of study: games that modify its music depending on what is happening around and with the player. Meanwhile, independent game developers struggle with composition of soundtracks, and adaptive soundtrack tools are not accessible to them, mostly because of their complexity. This forces most of them to collage soundtracks with permissive licenses they find online. Besides, there is a growing habit of players to mute the game's original soundtrack to listen to their own songs. This paper introduces MySoundtrack, an asset for Unity that allows the player to keep playing while listening to Spotify songs, chosen according both to the player musical preferences and to the intended emotions on each moment in the game. We review existing approaches on adaptive soundtracks, explain how MySoundtrack's prototype works and its design choices, and discuss future plans for the tool. Validation so far indicates interest and curiosity by game developers and players, indicating the relevance of the proposed plug-in.
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Zimmerman, John. "Exploring the role of emotion in the interaction design of digital music players." In the 2003 international conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/782896.782939.
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Arthur, Reginald, Olivia Anku Tsede, Mohammed-Aminu Sanda, Eleonora Belfiore, and Thilde Langevang. "Conceptualizing the Influence of Digital Musicpreneurs on the Music Streaming Ecosystem in the Global South: An Actor-Network Perspective." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004302.
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It has been almost a decade since the emergence of music streaming services (MSS) started changing the economic fortunes of the music industry globally. The International Federation for Phonographic Industry (IFPI) reports that since 2015 streaming has consistently dominated the music industry revenue, currently accounting for more than 67% of total global recorded music revenue (IFPI, 2023). In the Global South, this growth has been marked with the recent interest of global giants in the music streaming industry such as Boomplay and Spotify seeking to gain grounds in several Sub-Saharan countries including Ghana. Despite the significant growth and interest in the contemporary music industry, the specific dynamics and framework within which streaming operates in the context of Ghana’s music industry is yet to be explored. This study thus aims to explore and conceptualize the influence of digital entrepreneurs in the streaming business ecosystem in Ghana, utilizing an Actor-Network Theory (ANT) analysis. With the rise of music streaming and the advent of independent music production and distribution, a new category of entrepreneurs known as “digital musicpreneurs” have emerged as key players in reshaping the music industry landscape.Drawing on the ANT framework, this paper adopts a comprehensive approach to analyze the intricate interactions, relationships, and power dynamics between these digital musicpreneurs and various actors within the music industry business ecosystem in Ghana. This study seeks to provide a conceptual understanding of the transformative impact of these entrepreneurs on the ecosystem, taking into account the unique challenges and opportunities faced by the Global South music industry. In its analysis, the following dimensions are considered. First, the study explores the dynamic interactions between digital musicpreneurs and other actors, including musicians, producers, record labels, distributors, and the dominant digital platform in Ghana, Boomplay. Also, this study delves into the role of technology, particularly digital platforms and online tools, in mediating the activities of digital musicpreneurs, with a particular emphasis on how these technologies are utilized and accessed in Ghana. It explores how digital musicpreneurs leverage technology to create and distribute music, engage with audiences, and develop innovative business models, considering the infrastructural and digital divide challenges faced by the Global South. Furthermore, this paper focuses on understanding how digital musicpreneurs contribute to value creation within the music industry ecosystem in Ghana. It explores their innovative approaches to music production, marketing, and monetization, while considering the specific economic constraints, market dynamics, disruptions caused by their entrepreneurial activities and their implications for the Global South music industry. Finally, this paper analyzes the network effects and ecosystem evolution resulting from the influence of digital musicpreneurs and explores how their actions and collaborations shape the industry’s competitive landscape, foster innovation, and drive ecosystem growth. By adopting an ANT analysis with a Global South perspective, this study will generate insights that have implications for various stakeholders in the Ghana music industry, including digital musicpreneurs themselves, musicians, record labels, policymakers, and industry practitioners.
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Liu, Jinge, and Shuyu Wang. "Piano4Play: An Automated Piano Transcription and Keyboard Visualization System using AI and Deep Learning Techniques." In 8th International Conference on Control, Modeling and Computing (CMC 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120502.
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Piano keyboard visualization was very popular right now, but there are very few virtual piano keyboard visualizations right now [1]. I was using unity to show the virtual piano keyboard and then they can play piano pieces by themselves or play a recording online [2]. After that you can listen and see how the recording pieces play it on the visual keyboard to give them a clear idea about how the songs played on a keyboard2 [3]. For those who played by themselves it can let them heard and know also when the visual piano play for them, they can tell if they have offbeat playing or they missing not. Piano4Play is an automated piano transcription and keyboard visualization system using AI and deep learning techniques. The user could upload a recorded piece of music, and our app would visualize the music on a digital piano keyboard. The user could see how the music is played visually in order to help piano beginners to see how the music will be played on piano in order to help them learn more quickly and easier, and advanced players could use the app to see whether they made any mistake when they are playing so they can get some improvement. Our app uses wav and MIDI files, repl, real-time database, google Collab and Unity.
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Hodoshima, Nao. "Correlation Between a Questionnaire About Noise-Induced Hearing Loss and SPL of Portable Music Players of High School and University Students." In ASME 2012 Noise Control and Acoustics Division Conference at InterNoise 2012. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ncad2012-1412.
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The risk of noise-induced hearing loss has been increased for young generations. Several studies pointed out that one reason is listening to digital audio players with a sound pressure level that leads to damage to hearing. This study conducted a questionnaire on 209 high school and university students living in Tokyo about their current situation regarding noise-induced hearing loss. The questionnaire includes the frequency of earphones/headphones usage, noise exposure, self-reported hearing conditions and hearing-related lifestyle. This study also measured A-weighted equivalent sound pressure levels of digital audio players that the students have with normal playback volume. The results showed that more than 90% of the subjects use earphones/headphones, and about 50% use them daily. 58% of the subjects use them while commuting, meaning that they listen to music in noisy trains and buses. 16% of the subjects reported that they have experienced hearing problems such as tinnitus symptoms and listening difficulties, but none of them have sought medical advice. The measured sound pressure level varied from 40 to 90 dBA, and 15% of the data was over 80 dBA. The results show the need for showing young people the importance of hearing protection and prevention of noise-induced hearing loss.
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Wang, Jiacheng, and Liangming Jia. "Usability of music application interface systems." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003199.
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The mobile digitalization of music has been a part of people's lives for a few decades. As people enter the stage of transformation from Web 2.0 to 3.0, traditional Internet carriers and other major companies' apps are facing a change. In addition to the quality of the digital products that come with the apps themselves, the visual matching of the user interface, the logic of the operating framework and the adhesion of the user community have all become key factors. Purpose: This study aimed to examine the preferences, behaviors, and ease of use of music apps by students in tertiary institutions, the mainstream group of internet users, in order to provide reference suggestions for the future development of music apps in the Web 3.0 stage.Methods: In this study, the top three apps downloaded (Sample 1 "Spotify"; Sample 2 "QQ music," and Sample 3 "NetEase Cloud Music") were selected from the existing apps in China and Taiwan for the experimental design. The experiment consisted of five task steps: (A) bookmarking songs; (B) sharing songs with friends; (C) creating a new song list with a specific name; (D) searching for a specific song; and (E) changing personal information. Thirty subjects were recruited (purposive sampling), with 10 participants operating each app. Data were collected on task performance time and from the System Usability Scale (SUS), Post-Study System Usability Questionnaire (PSSUQ) and semi-structured interview results. The collected data were tested by one-way ANOVA and LSD post-hoc tests to confirm the significance between variables and specific analyses.Results: The results showed that (1) among the five operational tasks, Task A (p = 0.01 < 0.05) showed a significant difference in operational performance; then, according to the LSD post-hoc test results, the operational time of Sample 1 (M = 15.30, SD = 8.98) was significantly lower than that of Sample 3 (M = 33.67, SD = 16.77), which was not significantly different from that of Sample 2 (M = 23.11, SD = 9.89). There was no significant difference with Sample 2 (M = 23.11, SD = 9.89). (2) According to the SUS scale results, there was a significant difference in the participants' evaluation of the ease of use of the three apps (p = 0.01 < 0.05). According to the LSD post-hoc test results, Sample 1 (M = 85, SD = 8.82) was significantly higher than Sample 2 (M = 66.25, SD = 17.05) and Sample 3 (M = 69.75, SD = 13.15), with no significant difference between Samples 2 and 3. (3) According to the PSSUQ results, there was a significant difference in the interface quality profile, as seen in the LSD post-hoc test results, where Sample 2 (M = 2.93, SD = 0.72) scored significantly lower than Sample 1 (M = 3.9, SD = 0.85) and Sample 3 (M = 3.9, SD = 0.61).Discussions: The three apps are all music players, and the underlying logic of operation is the same, so there is little noticeable performance difference. Sample 1 is the only one of the three apps that has black as the primary visual color of the interface, with green accents. The darker color enhances the user's time to complete tasks and provides a better user experience. When performing tasks, the subjects would invariably look for the icon representing their data in the bottom right corner.
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Huei Chou, Wen, Chung-wen Hung, and Ya-ling Ko. "Transdisciplinary design research of Homebound Seniors." In 5th International Conference on Human Systems Engineering and Design: Future Trends and Applications (IHSED 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004160.
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According to the World Population Prospects report released by the United Nations, the proportion of individuals aged 65 and above is expected to increase from 9% in 2019 to 16% between 2019 and 2050. This trend indicates a rapid increase in the elderly population, which poses significant social development challenges. Maintaining the health of the elderly is essential for their continued ability to contribute to their families and communities. The complex effects of aging, such as physiological degradation, memory loss, and diminished physical coordination, can significantly impact daily life, making it crucial to find ways to delay aging and enhance the quality of life of the elderly. Achieving this goal requires transdisciplinary collaboration among professionals.This design research project involved a transdisciplinary team comprising geriatric occupational therapy, electrical engineering, and digital design professionals who proposed a design solution for solitary older adults. The proposed solution is a multi-player drumming interactive device designed for home use, integrating virtual and physical elements with low technological burden on users. This interactive device combines various elements, including music therapy, interactive games, upper limb exercises, cognitive training, and social connection, among others.Transdisciplinary collaboration among professionals is crucial in addressing complex issues that require diverse perspectives and expertise. The collaboration between professionals in geriatric occupational therapy, electrical engineering, and digital design can lead to more comprehensive and effective solutions. However, challenges associated with such collaborations include integrating diverse knowledge systems, aligning different work logics, and incorporating different problem-solving approaches. The potential benefits of transdisciplinary collaboration include more innovative problem-solving and consideration of the needs and preferences of aging populations.In this study, digital designers studied game-based learning theories for older adults, interface design requirements, and their habits of using online courses. They collaborated with geriatric occupational therapists to investigate the interactive user needs and drumming course planning for older adults, while electrical engineers integrated the virtual and real operating interface to reduce the elderly's learning burden. The system enabled older adults to play online games with other players at home through a simple drumming game using Unity and Bluetooth connection technology. This not only helped to prevent muscle atrophy but also facilitated remote communication with other players.Experimental testing of the proposed design showed its suitability for future applications in the field of elderly entertainment. The study examined the effects of drumming on the upper limb muscles, cognition, and emotions of older adults, as well as the ease of use of the overall system structure for the elderly. Despite communication barriers due to the use of technical language and jargon specific to each profession and the need for team members to develop a mutual understanding of each other's work logic and problem-solving approaches, transdisciplinary collaboration offers a promising approach to addressing complex issues in geriatric occupational therapy, electrical engineering, and digital design.
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Snook, Kelly, Tarik Barri, Joachim Goßmann, Jason Potts, Margaret Schedel, and Hartmut Warm. "Kepler Concordia: Designing an Immersive Modular Musical and Scientific Instrument Using Novel Blockchain and Sonification Technologies in XR." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.034.
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This paper describes the first steps in the creation of a new scientific and musical instrument to be released in 2019 for the 400th anniversary of Johannes Kepler's Harmonies of the World, which laid out his three laws of planetary motion and launched the field of modern astronomy. Concordia is a musical instrument that is modularly extensible, with its first software and hardware modules and underlying framework under construction now. The instrument is being designed in an immersive extended-reality (XR) environment with scientifically accurate visualizations and datatransparent sonifications of planetary movements rooted in the musical and mathematical concepts of Johannes Kepler [1], extrapolated into visualizations by Hartmut Warm [2], and sonified. Principles of game design, data sonification/visualization optimization, and digital and analog music synthesis are used in the 3D presentation of information, the user interfaces (UX), and the controls of the instrument, with an optional DIY hardware “cockpit” interface. The instrument hardware and software are both designed to be modular and open source; Concordia can be played virtually without the DIY cockpit on a mobile platform, or users can build or customize their own interfaces, such as traditional keyboards, button grids, or gestural controllers with haptic feedback to interact with the system. It is designed to enable and reward practice and virtuosity through learning levels borrowed from game design, gradually building listening skills for decoding sonified information. The frameworks for uploading, verifying, and accessing the data; programming and verifying hardware and software module builds; tracking of instrument usage; and managing the instrument's economic ecosystem are being built using a combination of distributed computational technologies and peer-to-peer networks, including blockchain and the Interplanetary Filesystem (IPFS). Participants in Concordia fall into three general categories, listed here in decreasing degrees of agency: 1) Contributors; 2) Players; and 3) Observers. This paper lays out the broad structure of Concordia, describes progress on the first software module, and explores the creative, social, economic, and educational potential of Concordia as a new type of creative ecosystem.
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Husin, Nanang, and Achmad Nizar Hidayanto. "Influence Factors in The Fall of Music Industry and The Emergence of New Digital Music Service Player in The Digital Music Transformation - A Systematic Literature Review." In 2018 3rd International Conference on Information Technology, Information System and Electrical Engineering (ICITISEE). IEEE, 2018. http://dx.doi.org/10.1109/icitisee.2018.8720993.
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Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.
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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.
Reports on the topic "Digital music players"
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Lefevre, Bruno, and Philippe Bouquillion. Communications, media and internet concentration in France, 2019-2021. Global Media and Internet Concentration Project, Carleton University, 2024. http://dx.doi.org/10.22215/gmicp/2024.2.
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This report focuses on approximately thirty French markets, contributing to local debates and research as part of the Global Media and Internet Concentration Project (GMICP). It explores the dynamics of diversified economic players in cultural industries (press, audiovisual, books, music), emphasizing the coexistence of 'traditional' and 'new' entrants. The study provides sector-based and global analyses, revealing a dual dynamic of diversification and concentration in the production, distribution, and broadcasting of cultural and information content. Audiovisual content broadcasting, both free and pay, demonstrates national dominance but faces challenges from foreign groups. Financialization and concentration affect media and cultural goods industries, posing risks to diversity of opinion. The dominance of North American groups in digital services, particularly in advertising, is noted, impacting traditional media revenues. Telecom operators lead the French market, with regulators monitoring concentration dynamics for potential negative impacts on diversity.
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Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.
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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.