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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.
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Saeadmin, RR Ella Evrita H, S. E, M.M,, Ahmad Budi Sulistioyuwono, S. E, M.M, and Fransiskus Rendy, B. Com, M.A.B. "Strategi Pemasaran Industri Musik Pada Era Digital Di Indonesia." Profilm : Jurnal Ilmiah Ilmu Perfilman dan Pertelevisian 1, no. 1 (January 10, 2022): 52–60. http://dx.doi.org/10.56849/sae.v1i1.37.
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This concentrate on we will examine what digitalization in the music business means for music advertising This has a major effect based on music industry in conditions of music promoting and for purchasers as far as getting a charge out of music. Real time features have become something extremely powerful in the advanced period that we know as industry 4.0. The music business can no longer depend on actual items and buyers are currently more particular in getting a charge out of music. The strategy utilized in this study is a subjective technique with a phenomenological research methodology concerning what is capable by research subjects, for example, practices, insights, inspirations, activities, and so on comprehensively and through portrayals in the type of words and dialects. The consequences of this study are that for purchasers it is simpler to track down music and industry players are extremely strong of digitalization in the music business since it makes it simpler to advertise their music and assist with safeguarding their scholarly propertybecause it diminishes theft.
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Lasen, Amparo. "Disruptive ambient music: Mobile phone music listening as portable urbanism." European Journal of Cultural Studies 21, no. 1 (May 24, 2017): 96–110. http://dx.doi.org/10.1177/1367549417705607.
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This article explores the use of mobile phones as portable remediated sound devices for mobile listening – from boom boxes to personal stereos and mp3 players. This way of engaging the city through music playing and listening reveals a particular urban strategy and acoustic urban politics. It increases the sonic presence of mobile owners and plays a role in territorialisation dynamics, as well as in eliciting territorial conflicts in public. These digital practices play a key role in the enactment of the urban mood and ambience, as well as in the modulation of people’s presence – producing forms of what Spanish architect Roberto González calls portable urbanism: an entanglement of the digital, the urban and the online that activates a map of a reality over the fabric of the city, apparently not so present, visible or audible.
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Resmadi, Idhar. "From music industry to content industry: a story of Sun Eater Records." Emerald Emerging Markets Case Studies 12, no. 3 (August 19, 2022): 1–42. http://dx.doi.org/10.1108/eemcs-12-2021-0414.
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Learning outcomes At the end of this study, students should analyze the re-orientation of innovation music business model strategy to create a new market using the Blue Ocean Strategy of Sun-Eater Records Company. Furthermore, they should be able to implement the business model transformation in the music industry in this digital media era based on data and technological capability. Students should analyze the digital content strategy that is relatable and relevant to music customers/users through content creation. Finally, they need to create the content strategy applicable to promotion and marketing innovatively in the music business. Case overview/synopsis This study analyzes how a Jakarta-based independent music company, Sun Eater Records, changed its strategy in response to the Covid-19 pandemic. The adverse effect of the pandemic on this company included a massive drop in sales of products and revenues from tours, festivals and outdoor music performances. Music industry stakeholders were confused and frustrated because of the restriction and the implementation of the social distancing policy, as most of their business models depended on live music showcases and selling records. The protagonist of this study, Kukuh Rizal Arfianto, is the director and co-founder of Sun Eater Records. Kukuh’s experience during the pandemic is used to capture the dilemma faced by the music industry players in Indonesia. This agile businessman transformed this music company by embracing digitalization. Inspired by the business models of Disney and 88 Rising (Music Management), Sun Eater Records developed various derivatives digital products. The company did not only sell music through digital content, it also developed several complementary products with music as their main theme. These innovative creations include mini-documentary, virtual concerts, compilation albums serial, digital comics, and Covid-19 Campaigns. The company is quite active in leveraging digitalization to survive in this business compared to other industry players. This study provides communication and design students opportunities to analyze how to draft an effective content strategy in the industry, in this case, the music industry. Complexity academic level This case is designed mainly for Management, Innovation, and Digital Communication course at the Bachelor's level program. Supplementary materials Teaching notes are available for educators only. Subject code CSS 11: Strategy.
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Chung, Tuck Siong, Roland T. Rust, and Michel Wedel. "My Mobile Music: An Adaptive Personalization System for Digital Audio Players." Marketing Science 28, no. 1 (January 2009): 52–68. http://dx.doi.org/10.1287/mksc.1080.0371.
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Sudhakar, M., Shamala Tejaswini, Marpaka Shivani Reddy, v. Vishal, and Gangula Bany Vishwas. "EMOTION BASED MUSIC PLAYER." YMER Digital 21, no. 05 (May 16, 2022): 723–26. http://dx.doi.org/10.37896/ymer21.05/82.
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Recent Studies show that people respond to music, and this music and this music has a strong effect on human brain activity. The average urban human listens up to four hours of music every day. People listen to music based upon there mood and interests. This project focuses on creating an app to play users' songs based on their mood by capturing a facial expression. Computer visualization is an interdisciplinary field that helps to convey a high-level understanding of digital images or video to computers.. In this system, computer vision components are used to determine the user’s emotion by facial expression. When emotions are detected, the system plays a song of that emotion, saving a lot of user time by selecting and playing the songs themselves. Sentiment based music players also follow the details of the song and have genres like linear mode and random mode.
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Finan, Donald S. "Get Hip to the Data Acquisition Scene: Principles of Digital Signal Recording." Perspectives on Speech Science and Orofacial Disorders 20, no. 1 (July 2010): 6–13. http://dx.doi.org/10.1044/ssod20.1.6.
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Use of the term “digital” has become ubiquitous. But what does it mean for a device to be “digital”? Computers process information by manipulating numbers (digits), and are therefore often referred to as digital systems. When the term “digital” is used to describe a device, the implication is that a computer is somehow involved. MP3 or iPod music players are digital devices, in that a computer was used to convert music to a numeric (digital) format so that it could be stored on a digital memory chip. This article will explore how computers capture real-world signals (such as acoustic speech signals), and why computer (digital) signal acquisition has advantages over older “analog” recording technologies. This article also will present information on potential error that can arise when converting analog signals to the digital domain.
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Jordà, Sergi. "Instruments and Players: Some Thoughts on Digital Lutherie." Journal of New Music Research 33, no. 3 (September 2004): 321–41. http://dx.doi.org/10.1080/0929821042000317886.
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Nakano, Davi. "Digital music, online outlets and their business models." Brazilian Journal of Operations & Production Management 16, no. 4 (November 30, 2019): 581–91. http://dx.doi.org/10.14488/bjopm.2019.v16.n4.a4.
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Goal: to describe the current configuration of digital music distribution, and to give an overview of the business practices adopted by digital music outlets.
Design/Methodology/Approach: Longitudinal study using descriptive statistics and cluster analysis on two datasets collected in 2011 and 2018.
Results: Three clusters were identified in 2011: paid download, music streaming, and video streaming. Data shows that, in 2018, although streaming was the predominant technical mode, many outlets still applied the paid download business model (BM), and that cluster presented the highest survival rate. Large outlets used streaming, but the specialized ones still adhered to download, and catalog specialization and consumer behavior are the explaining factors.
Limitations of the investigation: Data was gathered from 70 digital outlets operating in two major digital markets, USA and UK, but some large ones, such as Korea and Japan, were not analyzed.
Practical implications: While a dominant technology prevails on mass markets, old technologies can still be adopted in niche markets, due to market limitations and consumer behavior. Thus, even in concentrated markets, small competitors can benefit from exploring segments with special needs that are not addressed by large players.
Originality/Value: There are few quantitative studies and longitudinal analyses on digital music business models.
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Noviani, Dini, Raenita Pratiwi, Silvia Silvianadewi, Mohammad Benny Alexandri, and Marsha Aulia Hakim. "Pengaruh Streaming Musik Terhadap Industri Musik di Indonesia." JURNAL BISNIS STRATEGI 29, no. 1 (July 1, 2020): 14–25. http://dx.doi.org/10.14710/jbs.29.1.14-25.
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Music streaming service has become one of the most influential factors in Indonesian music consumption patterns where the music industry can no longer depend on physical products and consumers are now more selective in enjoying music. This study discusses how the development of the use of steaming music platforms has an impact on consumption patterns and music marketing. The method used in this study is a qualitative method by means of descriptions in the form of words and language. The results of this study indicate that the movement of Z as the main connoisseurs of digital music in Indonesia has shown that the music industry players are very supportive of digitalization to facilitate marketing their music and help protect their intellectual property by reducing piracy.
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Shetty, Aishwarya, Apeksha Prabhu, Prof Suparna, and Dr M. Shahina Parveen. "Song Recommendation Based on Facial Expression." International Journal of Soft Computing and Engineering 12, no. 6 (January 30, 2023): 1–5. http://dx.doi.org/10.35940/ijsce.a9345.0112623.
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A user's facial expressions can reveal his or her level of emotion. These expressions can be obtained from the system's camera's live feed. In the area of computer vision (CV) and machine learning (ML), a lot of research is being done to train machines to recognize different human emotions or moods. Machine learning offers a variety of methods for detecting human emotions. A review of existing music systems revealed that many music applications rely on the user's past listening choices rather than recommending songs based on their current emotion. The goal of this project is to identify emotions in human faces using real-time data and to suggest songs according on those emotions. Music is a great unifier. It binds us despite our differences in ages, backgrounds, languages, interests and levels of income. Due to its accessibility and ability to be used alongside daily activities, travel, sports, and other activities, music players and other streaming apps are in high demand. Digital music has emerged as the main form of consumer content that many young people are looking for because to the quick growth of mobile networks and digital multimedia technology. Music is frequently used by people as a tool for mood control, specifically to improve mood, boost energy, or soothe tension. Additionally, listening to the correct music at the right moment can help with mental wellness. So, music and feelings in people are closely related. As a result, the proposed system is an interactive platform for suggesting music depending on user’s present emotional state. This also could be a great feature to be incorporated in existing music player applications.
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Hurtado, Enrique, Thor Magnusson, and Josu Rekalde. "Digitizing the Txalaparta: Computer-Based Study of a Traditional Practice." Computer Music Journal 43, no. 2-3 (June 2020): 125–41. http://dx.doi.org/10.1162/comj_a_00522.
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This article describes a software implementation dealing with the ancient Basque musical tradition of the txalaparta. The research is different from earlier studies of the txalaparta in that, by digitizing the instrument and its performance rules, we have had to formalize and make explicit conventions that hitherto have been tacit knowledge of improvisational practice. Analysis through software development is an unusual case of musicological analysis as it demands clarity and precision, and often requires multidisciplinary approaches to understand the studied subject. We have developed software in order to analyze and understand a practice that has received little musicological analysis. By expounding musical patterns and performers' behaviors that have hitherto been difficult to analyze, we reveal the social and cultural aspects of performance practice. The txalaparta is a two-performer instrument and the software produces txalaparta rhythms and plays along with a human player, while learning and adapting to the player's style. The system helps novices to explore the rules of the txalaparta and more-experienced performers to approach the instrument from a new perspective. In this research we have applied a user-centered approach, where feedback from players using the digital txalaparta was collected. This feedback allowed us to approach the reflective vision of txalaparta players and their thoughts on the results of our research.
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Remache-Vinueza, Byron, Andrés Trujillo-León, Mireya Zapata, Fabián Sarmiento-Ortiz, and Fernando Vidal-Verdú. "Audio-Tactile Rendering: A Review on Technology and Methods to Convey Musical Information through the Sense of Touch." Sensors 21, no. 19 (September 30, 2021): 6575. http://dx.doi.org/10.3390/s21196575.
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Tactile rendering has been implemented in digital musical instruments (DMIs) to offer the musician haptic feedback that enhances his/her music playing experience. Recently, this implementation has expanded to the development of sensory substitution systems known as haptic music players (HMPs) to give the opportunity of experiencing music through touch to the hearing impaired. These devices may also be conceived as vibrotactile music players to enrich music listening activities. In this review, technology and methods to render musical information by means of vibrotactile stimuli are systematically studied. The methodology used to find out relevant literature is first outlined, and a preliminary classification of musical haptics is proposed. A comparison between different technologies and methods for vibrotactile rendering is performed to later organize the information according to the type of HMP. Limitations and advantages are highlighted to find out opportunities for future research. Likewise, methods for music audio-tactile rendering (ATR) are analyzed and, finally, strategies to compose for the sense of touch are summarized. This review is intended for researchers in the fields of haptics, assistive technologies, music, psychology, and human–computer interaction as well as artists that may make use of it as a reference to develop upcoming research on HMPs and ATR.
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Peechapat, Wichaya, and Nattapong Puttanapong. "Collaboration and Competition: A Social Network Analysis of Thailand’s Music Industry." Economies 12, no. 2 (February 12, 2024): 45. http://dx.doi.org/10.3390/economies12020045.
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This study quantitatively investigates the collaborative framework and competitive landscape of Thailand’s evolving music industry, driven by technological progress and changing consumer preferences. By examining data obtained from Thailand’s Department of Intellectual Property, specifically 138,868 songs, it explores the complex network of relationships among music creators, artists, and various rights-holders, including those associated with recording, music, melodies, and lyrics. Utilizing social network analysis, this research uncovers a power law distribution in these networks, reflecting a scale-free market configuration. This characteristic is marked by a few dominant players exercising considerable market influence, contrasted with numerous less-interconnected participants. This investigation notes regular patterns of collaboration between artists and different rights-holders. Furthermore, the network of music creators displays small-world properties, with short collaborative distances fostering efficient information exchange and creative synergy. Crucially, this study identifies key influential players instrumental in directing the industry’s major trends, highlighting their role in market concentration. These significant findings will provide critical evidence for informing future policy development aimed at improving efficiency and equity in the digital content industries.
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Heazlewood-Dale, James C. "Scott Joplin in the Overworld: Super Mario's Rag-Inflected Score." Jazz and Culture 6, no. 2 (December 1, 2023): 7–36. http://dx.doi.org/10.5406/25784773.6.2.02.
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Abstract A rolling banjo, walking bass, steel drum, and syncopated piano. What strange music to accompany your trials and tribulations throughout the Mushroom Kingdom. Eclecticism pervades the Mario franchise and manifests in its digital places, the ways players interact within them, and, indeed, the sounds emanating from them. Mario and his jumping adventures have long been in the hearts of players, the minds of scholars, and the ears of ludomusicologists. By engaging with Koji Kondo's scores for early Mario games, this article highlights an overlooked component in the iconic scores of early Super Mario games: ragtime music. Furthermore, this research contributes examples of African American and Latino musical creation and innovation to ludomusicological discourse. I argue that, as a means to connect, contextualize, and enhance Mario's movement with music, composer Koji Kondo draws from ragtime and early jazz styles because of their distinctive rhythmic qualities. His rag-inflected score establishes ragtime as fundamental to early Super Mario soundscapes. While a substantial ludomusicological body of literature focuses on the Western classical tradition in games, jazz-centered research is scarce. This cross-disciplinary research draws on a wide range of scholarly perspectives from jazz studies and ludomusicology, including work by Andrew Schartmann, Edward Berlin, Ingrid Monson, Neil Lerner, David Butler, and Charles Hiroshi Garrett. As game audio is indispensable in facilitating a player's sense of verisimilitude of Mario's imaginative and, at times, nonsensical worlds, an inquiry into how jazz participates in this unique audiovisual relationship is long overdue.
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Ding, Jun. "Application of Big Data Mining Technology in the Digital Construction of Vocal Music Teaching Resource Library." Wireless Communications and Mobile Computing 2022 (July 29, 2022): 1–9. http://dx.doi.org/10.1155/2022/3197118.
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In recent years, vocal music is becoming more and more important to daily life, which can cultivate emotion and adjust pressure, but at present, vocal music teaching is faced with an increasingly serious shortage of teacher resources. Therefore, it is particularly important to develop a vocal music teaching system using the computer-aided teaching function. First, the algorithm flow of the system is designed in detail according to the principle of computer neural network technology, the performance characteristics of vocal music are extracted by using Fourier transform and its improved function, and the key modules of the system are designed according to the system frame structure and data processing flow and gave the key design code. Finally, taking piano performance as an example, players with different steel bar grades were selected to test the accuracy of the system evaluation. The test results show that the system can reflect the real level of the performers, which is beneficial to vocal music teaching. The improvement of the vocal music teaching system is of great practical significance to adjust the traditional music teaching mode and make the education system more reasonable.
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Wigati, Oki Turatula Narendra, Raden Muhammad Mulyadi, and Widyo Nugrahanto. "Identitas musik: Studi netnografi rilisan musik di Bandung." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 7, no. 1 (April 13, 2023): 153–66. http://dx.doi.org/10.22219/satwika.v7i1.25253.
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Penggemar dan penikmat musik mulai kembali membeli pemutar analog, membeli rilisan dan mengoleksinya. Hal tersebut memunculkan fenomena mengunggah koleksi rilisan musik di instagram. Tujuan penelitian ini adalah merekonstruksi identitas musik remaja oleh idharrez, amenkcoy, opetho, alter.naive, dan iamcollapse. Adapun signifikansi topik dalam penelitian ini adalah identitas musik yang berkaitan dengan aging dengan keterlibatnnya dalam mengoleksi rilisan musik fisik yang diunggah di media sosial. Penelitian ini merupakan penelitian kualitatif dengan menampilkan data-data untuk mendukung temuan penelitian, serta kajian literatur. Penelitian ini menggunakan pendekatan netnografi dalam mengamati jejak digital yang menampilkan keterlibatan dalam lingkup musik di instagram. Selain itu, melakukan wawancara untuk memperoleh kedalaman informasi melalui lima informan pemilik akun instagram yang dikelola warga kota Bandung dengan rentang usia 35 sampai 42 tahun. Pemilihan kelima pemilik akun yang menjadi informan peneliti berdasarkan kredibilitas yang sudah dikenal dalam lingkup musik di kota Bandung. Hasil penelitian ini menunjukkan bahwa keaktifan mengunggah rilisan musik fisik di usia muda telah membentuk identitas yang melekat. Kesimpulan dari penelitian ini adalah musik berperan bagi hidup mereka maka hingga saat ini mereka tetap berada dalam lingkup musik; karya, dan kiprahnya telah dikenal di kota Bandung terlihat dari unggahan mereka di instagram. Music fans and connoisseurs are returning to buying analog players, purchasing releases, and collecting them. This led to the phenomenon of uploading a collection of music releases on Instagram. The purpose of this research is to reconstruct the musical identity of youth by idharrez, amenkcoy, opetho, alter.naive, and iamcollapse. The significance of the topic in this study is musical identity related to aging with involvement in collecting physical music releases uploaded on social media. This qualitative research presents data to support research findings and a literature review. This study uses a netnographic approach to observing digital footprints that display involvement in the music sphere on Instagram—in addition, conducting interviews to obtain in-depth information through five informants who own Instagram accounts managed by residents of the city of Bandung with an age range of 35 to 42 years. The five account owners who became research informants were selected based on credibility that was well-known in the music scene in the city of Bandung. The results of this study indicate that the activeness of uploading physical music releases at a young age has formed an inherent identity. This study concludes that music plays a role in their lives, so until now, they are still within the scope of music; their works and work have been known in Bandung, as seen from their uploads on Instagram.
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Namburu, Mohith, and Manjunadha Nagasai T. "Emotion-Driven Soundtrack Selector using AI." International Journal for Research in Applied Science and Engineering Technology 12, no. 2 (February 29, 2024): 1002–7. http://dx.doi.org/10.22214/ijraset.2024.58506.
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Abstract: The work portrayed the advancement of emotion-based Music Player, which is a web application implied for a wide range of clients, explicitly the music sweethearts. With the convenience of music players and other streaming apps, people can listen to music anytime, anywhere, and engage in various activities such as traveling, sports, or daily routines. The advancement of mobile networks and digital multimedia technologies has made digital music the most sought-after consumer content by young people. Moreover, listening to the appropriate music at the right time has the potential to enhance mental well-being. Human inclination assumes an indispensable part as of late. Emotion depends on human sentiments which can be both communicated or not. Emotion communicates the human's singular way of behaving which can be in various forms. The target of this project is to separate elements from the human face and recognize the emotion and play music as per the emotion identified. Be that as it may, many existing/strategies utilize past information to recommend music and different calculations utilized no Facial articulations are caught by a nearby catching gadget or an inbuilt web camera. Here we utilize a calculation for the acknowledgment of the component from the emotion we caught. Many music recommendation systems use content-based or collaborative-based recommendations. However, the choice of music for a user is not only based on his historical preference of the user. But also based on the mood of that user. This project proposes an emotion-based music recommendation that detects the emotion of a user from the webcam and plays the songs based on the user’s mood. In particular, the emotion of a user is classified and predicted the emotion and automatically redirects to the music page. This emotional information is stored in welldefined arrays. Thus, the model can predict the emotion and accuracy can be increased using these data.
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Ruddin, Isra, and Jamalullail Jamalullail. "The Development of New Media in the Economic Growth of the Indonesian Music Industry." Ilomata International Journal of Management 3, no. 4 (October 31, 2022): 470–85. http://dx.doi.org/10.52728/ijjm.v3i4.580.
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This study will discuss how new media in the music industry affect the music industry. This has had a major impact on businesses in the music industry and consumers who enjoy music. Streaming services have become something that has a big impact in the digital era that we know as Industry 4.0. The music industry can no longer rely on physical products and consumers are increasingly choosing to enjoy music. The method used in this research is a good method that is tested through research with unusual research ideas about; Describe behavior, thoughts, motivations, actions, etc. in the aggregate and in the form of words and messages. The findings of this study are that consumers find music easier and industry players support new media in the music industry because it makes it easier for them to market music and helps protect their intellectual property thereby reducing piracy. Market participants can also use the appropriate marketing mix. Luggage; Good recording, good songwriting should be distributed and rewarded; Because in the digital era, there are many streaming applications that must be used properly, such as uploading works to social media and streaming applications, so that uploaded works can be supported by Monetization.
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Flückiger, Matthias, Tobias Grosshauser, and Gerhard Tröster. "Influence of Piano Key Vibration Level on Players’ Perception and Performance in Piano Playing." Applied Sciences 8, no. 12 (December 19, 2018): 2697. http://dx.doi.org/10.3390/app8122697.
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In this study, the influence of piano key vibration levels on players’ personal judgment of the instrument quality and on the dynamics and timing of the players’ performance of a music piece excerpt is examined. In an experiment four vibration levels were presented to eleven pianists playing on a digital grand piano with grand piano-like key action. By evaluating the players’ judgment of the instrument quality, strong integration effects of auditory and tactile information were observed. Differences in the sound of the instrument were perceived by the players, when the vibration level in the keys was changed and the results indicate a sound-dependent optimum of the vibration levels. By analyzing the influence of the vibration levels on the timing and dynamics accuracy of the pianists’ musical performances, we could not observe systematic differences that depend on the vibration level.
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CHIU, CHRISTINE C., JUNE HUH, LAURA DE SOUZA, ARMANDO ALFARO-RAMIREZ, ROBIN CLEGG, LAURA FENWICK, ROBERT M. HAMILTON, et al. "A Prospective Pediatric Clinical Trial of Digital Music Players: Do They Interfere with Pacemakers?" Journal of Cardiovascular Electrophysiology 20, no. 1 (January 2009): 44–49. http://dx.doi.org/10.1111/j.1540-8167.2008.01270.x.
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Castro Soeiro, Filipe, Mariana Santos, and José Alves. "Network-based innovation: the case for mobile gaming and digital music." European Business Review 28, no. 2 (March 14, 2016): 155–75. http://dx.doi.org/10.1108/ebr-07-2015-0072.
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Purpose This paper aims to identify, analyze and discuss a potential new business opportunity that arises from the intersection of the digital music and game industries across borders throughout network-based innovation approach. Design/methodology/approach The research draws on review of industry and academic literature, two online surveys and interviews, overall encompassed by a interpretative exploratory research methodology strategy. Findings The study supports the interest and potential for developing new products that combine digital music and casual digital games and that draw on firms from more than one region, while potentially involving a wide set of social network key stakeholders. Research limitations/implications This is an exploratory study in which findings should be challenged by confirmatory studies, including new product design and development of modeling techniques and network-based innovation approaches. This research contributes for the generation of new insights over technological and social driving forces, as well as emerging trends that shed light on the global competitiveness and on convergence of mobile gaming and digital music industries at regional innovation systems view. It also discusses spillover mechanisms based on new knowledge creation, knowledge diffusion and knowledge appropriation throughout the key stakeholders. The customer-centric innovation and network value autocorrelation hypothesis was validated, and both technology convergence and social factors are enhancement factors for innovation. Limitations and further research with larger sampling, specialization techniques and empirical modeling to in-depth analysis is suggested. Practical implications The study provides a framework for managers to develop new products that merges boundaries of related industries and encourages network-based innovation and cooperation between industry players, involving different regions. Ultimately, it shows opportunities of diversification, by introducing new products into new markets, as result of interdependence, soft factors, knowledge spillover and absorptive capacity mechanisms over a network of key stakeholders across different regions throughout customer-centric innovation, while impacting also new discussion on entrepreneurship and knowledge spillover theory and policy making. Social implications Social capital network is key for innovation and knowledge spillover among industry players. Content creation regarding products and services show high dependence on spatial external cultural influences, tastes and habits for customer-centric innovation, while impacting on social and learning customer experience, as well. Originality/value The paper has value for product development and innovation managers, researchers and practitioners. It discusses the value of innovation systems that are purposively developed beyond traditional geographic and industry boundaries.
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Taylor, Skip. "An Investigation of Tone Production in Relation to Management of Bow Weight and Speed among Beginning and Intermediate String Players: A Pilot Study." String Research Journal os-3, no. 1 (July 2006): 55–66. http://dx.doi.org/10.1177/1948499206os-300105.
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Management of the bow to the point of achieving the most efficient physical interaction between the hair and strings is crucial to successful stringed instrument achievement and performance. Inferior tone production often restricts string students from achieving a totality of musically-acceptable performance skills. A spectral analysis of open string bowing was performed with middle school and high school string players in grades 6–10. Each subject bowed two separate down bows on the open violin A string. The specific objective was to investigate student control of bowed weight and speed management skills among a small sample of middle school and high school string players. Visual graphs were produced and analyzed from the digital analog recordings and are discussed in terms of amplitude across time in relation to management of weight and speed. The findings indicate that inferior tone production may be the result of inconsistency among young string players’ ability to maintain an appropriate balance between weight and speed.
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Oliva, Costantino, and Ari Poutiainen. "Otogarden." Journal of Sound and Music in Games 3, no. 2-3 (2022): 28–58. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.28.
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In this article we present ludomusicological research associated with the development of the video game Otogarden. Players of Otogarden are able to repeat short musical phrases through the use of a loop mechanic, juxtaposing sounds extemporaneously. By using the methodology of research through design, Otogarden addresses aesthetic and design issues related to musical participation in video games. Specifically, this article argues that video games, a contemporary venue for technologically augmented musicking, can allow access to novel forms of musical improvisation. In fact, while video games afford a remarkable variety of musicking, examples related to musical improvisation remain underexplored, with popular games favoring score-based interactions, as established by titles such as Guitar Hero or Rock Band. In similar examples, music is presented as a task to be completed, mediated by prerecorded compositions and simplified notations. Notable exceptions, such as the experimental game Electroplankton, have been criticized specifically for their lack of composition-oriented functionalities, seemingly neglecting the inherent value of improvisatory musical practices in video games. Otogarden challenges this understanding of a “music game” by focusing on the largely untapped potential of musical improvisation, “an activity of enormous complexity and sophistication, or the simplest and most direct expression.”1 In order to gain feedback on Otogarden’s special characteristics, we held a playtesting session with a sample of university students (N=21) with a special interest in music and music education. We collected research data from this session in the form of a survey. Analysis reveals different manifested perspectives, offering players novel creative opportunities. In addition, the game has surprising potential as a music-education tool. We conclude that it is possible to deliberately stimulate players’ perspective on the game in an improvisatory musical direction, making evident the extemporaneous musical possibilities connected with digital game engagement.
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Lizardo, Jimmy, and Fredella Colline. "The Influence of Market Attractiveness and Unique Capability on Collaboration Strategy and Business Performance: A Study at Digital Creative Industry in Java." Winners 24, no. 1 (June 30, 2023): 45–56. http://dx.doi.org/10.21512/tw.v24i1.10034.
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The creative industry has been a fundamental part of the digital economy, but its profitability remained low, at less than 25% per year. Therefore, the research aimed to ascertain the impact of market attractiveness and unique capabilities on the collaboration strategy, along with their implications for the business performance of Java’s digital creative sector. The population was digital creative industry players in Java Island which focused on the Games, Education, Digital Music, Animation, Software, and Social Media sectors (GEMASS). The sample taken was 50 respondents from the total population as many as 106 legalized digital creative industry players who had been established for more than 3 years. Data were processed using Partial Least Square (PLS-SEM). The findings show that both market attractiveness and unique capability positively and significantly influence collaboration. Market attractiveness has no effect on business performance but has an indirect effect through collaboration strategy. Unique capability positively and significantly affect business performance both directly and indirectly through collaboration strategy. Collaboration strategy positively and significantly affect performance, which is greater than the direct effect of unique capability. Digital creative industry in Java Island are suggested to prioritize the implementation of collaboration strategy that is built with unique capability and consider the market attractiveness.
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MILLER, KIRI. "Schizophonic Performance: Guitar Hero, Rock Band, and Virtual Virtuosity." Journal of the Society for American Music 3, no. 4 (October 15, 2009): 395–429. http://dx.doi.org/10.1017/s1752196309990666.
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AbstractThis article addresses Guitar Hero and Rock Band gameplay as a developing form of collaborative, participatory rock music performance. Drawing on ethnomusicology, performance studies, popular music studies, gender and sexuality studies, and interdisciplinary digital media scholarship, I investigate the games' models of rock heroism, media debates about their impact, and players' ideas about genuine musicality, rock authenticity, and gendered performance conventions. Grounded in ethnographic research—including interviews, a Web-based qualitative survey, and media reception analysis—this article enhances our understanding of performance at the intersection of the “virtual” and the “real,” while also documenting the changing nature of amateur musicianship in an increasingly technologically mediated world.
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Yusof, Rosmelia, Lok Yee Huei, Nur Aisya Adnan, Nur Aliah Ilyana Jefry, Nur Aliana Sofea Syuhaimi, Nur Alieza Natasha Marzuki, Nilna Iffa Afifatia Fasya, and Naura Nuhaa Tsabita. "Contributing Factors to Customers Loyalty in Gadgets A Study on Apple Brand." International Journal of Tourism & Hospitality in Asia Pasific 6, no. 2 (June 20, 2023): 116–25. http://dx.doi.org/10.32535/ijthap.v6i2.2344.
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Apple is a well-known technology corporation globally and one of the most valuable brands in 2020. Apple Inc. is a company that designs, develops, and distributes mobile communication and media players, PCs, and portable digital music players. Apple's products include iPhones, iPads, Macs, and iPods.In Malaysia, most university students choose to utilize Apple devices for their studies. This research examines why most students prefer Apple products in their daily lives. This research will also examine customer satisfaction, product quality, and other aspects and attitudes that impact customers' loyalty to Apple products. The data was acquired through monitoring and surveying students at University Sains Malaysia. This paper's analysis approach compares theory to observation and survey data.
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McGraw, Andrew Clay. "Different Temporalities: The Time of Balinese Gamelan." Yearbook for Traditional Music 40 (2008): 136–62. http://dx.doi.org/10.1017/s0740155800012145.
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On my first research trip to Bali, Indonesia, I brought along a reasonably expensive digital metronome with the wrongheaded idea that it would somehow aid my learning gamelan music. In a completely uncharacteristic mistake, Singapore Airlines lost my luggage containing the metronome. More than once, my Balinese teachers suggested (only half-kiddingly) that the goddess of music, Saraswati, had probably had a hand in this. Many Balinese teachers have commented that their greatest pedagogical challenge is in helping their foreign students develop a sense of the fluid, flexible nature of Balinese musical time. The differences between Balinese and Euro-American musical time and their representations have partially blinded theorists to its shape, function, and significance. In his magnum opus Music in Bali (1966), Colin McPhee describes a performance that particularly delighted him: With no rhythmic support of any kind, the players must follow the leading gangsa, partly by watching, partly by ear. They must all feel in the same way the flexible, rubato nature of the passage. The charm of this episode, as played by the gamelan at Jagaraga in 1938, was irresistible. It lay partly in the melody itself, sounding thinly chiming octaves and stressed at intervals by the vibrant tones of the jublags and jegogans. But perhaps most enchanting of all was the lovely pliancy of the passage, and the perfect accord of all the players. (McPhee 1966:350)
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Leonard, Nicholas. "Homage or Biting Lines: Critically Discussing Authorship, Creativity, and Copyright in the 21st Century through Hip-Hop." Arts 7, no. 4 (November 22, 2018): 86. http://dx.doi.org/10.3390/arts7040086.
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The inherent traits of digital media have challenged traditional understandings of artistic authorship and creativity. This division in understanding can clearly be observed in the popular culture context of hip-hop music. Hip-hop initially began with analog technologies such as vinyl record players, then transitioned to predominately digital mediums. This changeover in artistic mediums has been well documented by opposing viewpoints from hip-hop artists, consumers, record companies, and lawyers. By focusing on hip-hop for critical discussion on artistic authorship and creativity, art students can engage in discussion reflecting on their own artistic and online practices, and how these behaviors are legally supported or suppressed by copyright law.
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Ilsar, Alon, Gail Kenning, Sam Trolland, and Ciaran Frame. "Inclusive Improvisation: Exploring the Line between Listening and Playing Music." ACM Transactions on Accessible Computing 15, no. 2 (June 30, 2022): 1–21. http://dx.doi.org/10.1145/3506856.
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The field of Accessible Digital Musical Instruments (ADMIs) is growing rapidly, with instrument designers recognising that adaptations to existing Digital Musical Instruments (DMIs) can foster inclusive music making. ADMIs offer opportunities to engage with a wider range of sounds than acoustic instruments. Furthermore, gestural ADMIs free the music maker from relying on screen, keyboard, and mouse-based interfaces for engaging with these sounds. This brings greater opportunities for exploration, improvisation, empowerment, and flow through music making for people with disability and the communities of practice they are part of. This article argues that developing ADMIs from existing DMIs can speed up the process and allow for more immediate access for those with diverse needs. It presents three case studies of a gestural DMI, originally designed by the first author for his own creative practice, played by people with disability in diverse contexts. The article shows that system-based considerations that enabled an expert percussionist to achieve virtuoso performances with the instrument required minimal hardware and software changes to facilitate greater inclusivity. Understanding the needs of players and customising the system-based movement to sound mappings was of far greater importance in making the instrument accessible.
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Kwak, Jung, Keith Anderson, and Katharine O’Connell Valuch. "Findings From a Prospective Randomized Controlled Trial of an Individualized Music Listening Program for Persons With Dementia." Journal of Applied Gerontology 39, no. 6 (June 6, 2018): 567–75. http://dx.doi.org/10.1177/0733464818778991.
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Music & Memory (M&M) is a passive music intervention that uses personalized music playlists delivered on digital music players. This program has been increasingly adopted in nursing homes across the United States to facilitate communication, engagement, and socialization among persons with dementia (PWDs); however, few studies have evaluated the program’s effect on PWDs’ outcomes. In the present study, a randomized controlled crossover design was used to examine the impact of the M&M program on 59 PWDs in 10 nursing homes over a 14-week period. Residents’ evaluated outcomes included agitation, behavioral symptoms, and use of psychotropic medications. Although trends supported the positive effects of M&M, no statistically significant differences were found in any of the outcomes measured over time. Methodological limitations withstanding, these findings call into question the effectiveness of the M&M program and the ability of facility staff to implement this intervention with fidelity.
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Hamilton, Craig. "Popular music, digital technologies and data analysis: New methods and questions." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (March 4, 2019): 225–40. http://dx.doi.org/10.1177/1354856519831127.
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This article explores how respondents to The Harkive Project ( www.harkive.org ) are enfolding streaming services and automated recommendation systems into their everyday music reception practices. Harkive is an online project running annually on a single day in July that invites people to provide detail and reflection on their experiences with music. Since the project first ran in 2013, it has gathered over 10,000 individual entries. It is conceived as an ongoing experiment in research methodology that attempts to produce an online social space that encourages reflection from respondents about the detail of their music reception practice, while simultaneously acting as a place able to replicate commercial practices around data collection and analysis. This article will demonstrate how such a research process can produce rich descriptive data from respondents who provide a useful snapshot of contemporary music reception practice. The article begins with an overview of how streaming services, data collection from numerous online channels and automated recommendation systems interrelate, and how together they raise questions around how people engage in acts of music reception. It then describes how Harkive is based on similar types of computational/algorithmic processing to those used by key players in the digital music space. The analysis that follows shows that although respondents are engaging in everyday use of streaming services and dynamic recommendations, this engagement tends to be spread across a variety of online channels used in differing combinations, and that it is often recommendations from ‘traditional’ routes, such as media outlets (newspapers, radio stations) and users’ own social groups, that feature prominently in respondent descriptions. Indeed, what Nowak (2016) calls the ‘affective’ element of recommendation appears to be rooted in existing practices that are still in the process of being transposed to the relatively recently emerged digital platforms, rather than – and sometimes in spite of – the rhetorical framing of those platforms as key sites for recommendation and discovery by the companies who operate them. Through a discussion of those findings, and based on an update of Michael Bull’s concept of ‘auditory nostalgia’ (2009), it is then suggested that examining how listeners are enfolding the new technologies of music reception into their everyday routines and routes to meaning-making may be a useful direction for future research. The article then suggests that a mode of working where scholars attempt to reflexively harness data-derived processes may be useful in producing that work, and that experimental and practice-led approaches could enable popular music scholars and listeners alike to develop better epistemic responses to the data-related technologies that have recently helped bring about such huge changes in our everyday music reception practice.
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Schneck, Jeremy, Rebecca Mendelsohn, Daniel Dickstein, and Ghassan Samara. "The Impact of Portable Digital Music Players on Hearing in High School and Middle School Students." Laryngoscope 121, S5 (2011): S332. http://dx.doi.org/10.1002/lary.22288.
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Corcoran, Marlena. "Life and Death in the Digital World of the Plaintext Players." Leonardo 32, no. 5 (October 1999): 359–64. http://dx.doi.org/10.1162/002409499553578.
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This essay analyzes the age-old struggle of Life and Death as it plays out in the new digital medi um. It begins with a consideration of the dramati zations of an on-line improvisational group known as the Plaintext Players. Life and Death are discussed as contestants in a great morality play; as psychological driving force in the performances; as formal textual realm; and as thematic setting. The article goes on to discuss the complex negotiations of subject and object in the intricate interactions of dialogue, action, and spoofing in MOO performances. Finally the author considers “Real Life as Afterlife,” as one of the Players' performances is transposed onto the real-life stage.
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Soeiro, Filipe Castro, and Ana Filipa Conduto. "Regional Innovation Systems and Revolutionized Sectors: The Mobile Gaming and Digital Music." Journal of Corporate Governance, Insurance, and Risk Management 1, no. 2 (March 30, 2014): 261–89. http://dx.doi.org/10.56578/jcgirm010216.
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Mobile gaming and digital music industries’ dynamics and growth show high potential of value network and induce new ways of designing and developing competitive value propositions throughout disruptive innovation processes. These innovative processes have the potential to lead to design and development of new products and services, by combining games with music contents and revolutionizing the current media entertainment sector. In view of that, mobile gaming sector and market analysis were conducted throughout competitive analysis frameworks, analysis of regional innovation systems and online surveys to support the blue ocean opportunities and corroborates its market potential. Hence, the analysis involved the study of the competitive environment and technological convergence of both industries and the impact of this new game in industry dynamics. Moreover, the key drivers and trends influencing the business environment were analysed and competitive strategies were discussed as new trends for the sector, as well as new value chain rearrangements and potential players’ competition models. Finally, there were discussed vertical and horizontal integration processes, industrial clustering and agglomeration economics to lead regional innovation systems, higher knowledge investments and R&D spillovers to support blue ocean opportunities benefiting customers through new and innovative value propositions. Major sectorial changes and societal impacts for the future are also discussed.
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Whalley, Ian. "Internet2 and Global Electroacoustic Music: Navigating a decision space of production, relationships and languages." Organised Sound 17, no. 1 (February 14, 2012): 4–15. http://dx.doi.org/10.1017/s135577181100046x.
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Using Internet2 for audio performance, supported by digital video communication between players, provides the opportunity for networked electroacoustic music practitioners to connect with, bridge, amalgamate and lead diverse sound-based music traditions. In combination with intelligent/multi-agent software, this facilitates new hybrid sonic art forms. Extending prior work by the author,Mittsu no Yugo(Whalley 2010a) recently explored this direction. While Internet2 expands production/aesthetic possibilities, accommodating established aesthetics in tandem requires careful consideration. Beginning from a prior model of a decision space (Whalley 2009), the paper discusses the extended decision terrain and choices that Internet2 brings, and some of the compromises that need to be made to realise the proposition. The paper is then part conceptual map, and part artistic perspective.
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McGinn, Claire. "Expressive timing and mechanical instruments: exploring temporal idiomaticity in some music box performances." Open Research Europe 2 (September 29, 2022): 113. http://dx.doi.org/10.12688/openreseurope.14910.1.
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Drawing on earlier work in digital musicology that analysed beat onset data to create timing profiles for recorded performances, this research addresses the question of what kinds of timing data might be produced by a hand-cranked mechanical instrument. Mechanical instruments have been studied as part of the pre-history of recording technologies, but have not typically been considered seriously as performance media. However, a prominent tradition of nineteenth-century street performance – organ grinding – relied on mechanical instruments. If a hand-cranked mechanical instrument does not produce a totally regular rendition, then what might such a performance look like in terms of temporal variation? My hypothesis was that different players would produce different kinds of patterns, and that some of these patterns could be related to conventions of expressive performance. Six participants played two extracts, by Scott Joplin and Fredric Chopin, on a music box. I extracted onset bpm data using Sonic Visualiser and used a combination of Self-Organising Maps and manual data analysis to broadly group the different patterns of emphasis in these recordings and six others by professional pianists for comparison. The data showed that several participants employed phrase-arching, and also indicated not only 1) that different players demonstrated different tendencies in terms of temporal variation and beat emphasis but also 2) that different tendencies emerged among music box players across the two repertoire samples. I argue that these results suggest that it is possible to play both idiomatically and expressively with a hand-cranked mechanical instrument.
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Ivănescu, Andra. "Inhuman Music and the Monstrous-Feminine." Journal of Sound and Music in Games 5, no. 1 (January 1, 2024): 24–38. http://dx.doi.org/10.1525/jsmg.2024.5.1.24.
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In video games, female characters have traditionally been meant to be seen and not heard, mirroring the history of women under patriarchy. Those female characters who reject their secondary and primarily visual role often become monstrous, and like Barbara Creed argues, this monstrosity is itself profoundly gendered. This paper focuses on two such female characters whose monstrosity, and also revolt, are indisputably feminine, as well as musical. Both the 2007 classic Portal and the 2017 cult hit Doki Doki Literature Club! feature central antagonists who are sentient artificial female monsters who both start off as the players’ guides through their respective games, their roles similar to those of gendered digital assistants in everyday life. While GLaDOS is voiced throughout Portal, Monika remains silent until the final credits of DDLC!, but the comparison between the two is never as evident as when they sing. Both games end with songs performed by these antagonists, after they have technically been defeated. This paper draws on feminist literary and film theory, as well as musicology and ludomusicology, to deliver both a comparative analysis of the two songs, and a broader formulation of the sonic representation of the monstrous-feminine in video games.
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Resnick, Marc L. "Human Factors in Digital Rights Management for Consumer Products." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 49, no. 18 (September 2005): 1734–38. http://dx.doi.org/10.1177/154193120504901812.
Full textAbstract:
Digital Rights Management (DRM) is a means through which copyrights can be protected using technology rather than the legal system. It is controversial because it allows content creators to control the level of access that users have to content they have purchased to a much greater degree than ever before. In additional to preventing illegal piracy, DRM allows content creators to prohibit the “Fair Uses” that the legal system has consistently protected. Human factors practitioners involved in the design of electronic devices that use copyrighted media, including computers, music players, gaming systems, cell phones, digital video recorders, and others, must recognize the effects of DRM on consumer product design. When analyzing user requirements, the interaction between DRM software and user behaviors must be considered. User interfaces should be designed to make the constraints imposed by DRM and the access that is supported easily visible. Including a consideration of DRM and its interactions with interface design will increase the likelihood that consumer electronics are successful.
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Dyer, Mark. "The Human Still Lives? Technology, Borrowing and Agency in the Music of Nicolas Collins." INSAM Journal of Contemporary Music, Art and Technology, no. 4 (July 15, 2020): 77–87. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.4.77.
Full textAbstract:
This paper considers aspects of late 20th Century experimental music in a post-digital era, where DIY approaches of hacking now outdated digital technology have enabled new forms of artistic expression – namely, glitch and aesthetics of failure. More specifically, it will examine American composer Nicolas Collins’ approach to hacking portable CD players as a means to imitate sound production methods of turntable artists from the 1980s, in such works as Still Lives (1992). The paper will then explore Collins’ attempt to orchestrate this work for acoustic instruments using open musical notation in Still (After) Lives (1997). This discussion is viewed through the lens of musical borrowing, tracing Collins’ material – a canzone by Giuseppe Guami – through its varying mediums and guises, highlighting the limitations of technology and notation as a means to rearticulate a musical fragment and the fruitful artistic avenues this opens. Through the examination of a musical material, the paper goes on to scrutinize the entanglement between human, material and machine agents. I propose that understandings of such practices might be extended from the post-digital to the post-human: a collaborative network of agentic ‘things’.
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Jasute, Egle, and Valentina Dagiene. "Towards Digital Competencies in Mathematics Education." International Journal of Digital Literacy and Digital Competence 3, no. 2 (April 2012): 1–19. http://dx.doi.org/10.4018/jdldc.2012040101.
Full textAbstract:
Technological innovation has influenced learning, and teachers have suggested different ways of use for digital equipment, to improve learning and to achieve better outcomes from their students. Today’s youth has grown up with digital technology and has lived immersed in environments populated by computers, video games, digital music players, video cameras, cell phones, and thousands of other toys and tools of the digital age. It is for this reason that the authors are persuaded that education in the 21st century should be directed to use digital resources as well as digital ways of teaching in all subjects. Mathematics needs digitization and the paper deals with the development of dynamic sketches for geometry teaching and learning. The concept of dynamic geometry is introduced and discussed together with problems and examples of application of dynamic geometry software. The model for interactive geometry visualization is described and the implementation of this model is reported. Together with former topics an experimental research is presented, which is based on the use of the interactive pre-constructed sketches by the dynamic geometry software Geometer’s Sketchpad. At last the didactical approach of the experiment is analyzed, the results of the experience are described and conclusions and discussions are proposed.