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Journal articles on the topic 'Humanities -> music -> music technology'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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1

Comber, Chris, David J. Hargreaves, and Ann Colley. "Girls, Boys and Technology in Music Education." British Journal of Music Education 10, no. 2 (1993): 123–34. http://dx.doi.org/10.1017/s0265051700001583.

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Information technology is having a profound impact upon the music curriculum, and there is general agreement that boys and girls should have equal opportunities to benefit from it. Although music has traditionally been a subject in which girls predominate, technology is clearly stereotyped as a male preserve. The present paper reports some findings from the Leverhulme Trust-funded ‘Gender and educational computing in the humanities’ project at the University of Leicester, which is using survey and interview techniques with a large sample of pupils and teachers in the Midlands to investigate th

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Clark, Emily Hansell. "A Postcolonial MIR?" Resonance 3, no. 4 (2022): 412–32. http://dx.doi.org/10.1525/res.2022.3.4.412.

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The field of music information retrieval (MIR) offers tools for the analysis of music and sound, for example in archives of historical recordings; but it has also been widely critiqued for bias toward Western music and Western epistemologies. There seems to be a gap, or even an irresolvable friction, between computer science-based MIR tools, problems, and methodologies, on the one hand, and, on the other hand, humanities-based research in music and media that examines sound from critical and postcolonial perspectives. This essay draws from sound studies and critical technology studies to propo

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Yang, Jing. "Digital Innovations in Music Education: Assessing the Impact of Technology-Enhanced Learning in University-Level Music Programs." International Journal of Social Science and Humanities Research 12, no. 4 (2024): 132–41. https://doi.org/10.5281/zenodo.14000258.

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<strong>Abstract:</strong> The rapid advancement of digital technologies has significantly impacted university-level music education, transforming traditional teaching methods into more dynamic, interactive, and student-centered approaches. This paper explores the role of technology-enhanced learning (TEL) in university music programs, focusing on how digital tools such as virtual instruments, music production software, and online platforms are reshaping instructional practices and learning experiences. By integrating digital resources, educators can support personalized learning paths, facili

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Ramsey, Gordon P. "Integrating science, technology, engineering, and math (STEM) and music: Putting the arts in science, technology, engineering, arts, and math (STEAM) through acoustics." Journal of the Acoustical Society of America 152, no. 2 (2022): 1106–11. http://dx.doi.org/10.1121/10.0013571.

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Music is an important part of education and most students are ardent fans. However, the students are not necessarily aware of the artistic and technical details it takes to create what they hear. These details are what necessitate music and technology coming together. Part of science, technology, engineering, and math (STEM) education should be to help students appreciate the practical applications that come from each of the entities in STEM, namely, science, technology, engineering, and math. Music provides the connection of these elements with a topic that interests the students and motivate

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J. Vishalinromiya. "Digital Humanities as a Treasure Trove for the Developing Countries: An Exploration." Shanlax International Journal of English 12, S1-Dec (2023): 501–6. http://dx.doi.org/10.34293/rtdh.v12is1-dec.80.

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Digital humanities integrate the methods from conventional humanities disciplines (such as rhetoric, history, philosophy, linguistics, literature, art, archaeology, music, and cultural studies) and social sciences. It encompasses both digitized and born-digital materials. In addition to altering our way of life, contemporary technology has also had an impact on our perceptions, thoughts, and analyses of modernity. An Integrated Learning Major (ILM) called “digital humanities” blends the conventional humanities strengths with an emphasis on digital and information technology. As a tool for the

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Wale, Adedeji. "Digitalization and New Trends in the Nigerian Music Industry: The Social Media Angle." International Journal of Recent Research in Social Sciences and Humanities (IJRRSSH) 10, no. 3 (2023): 132–44. https://doi.org/10.5281/zenodo.8223814.

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<strong>Abstract:</strong> It is evident that the evolution of digital technology has created an apparent and drastic shift in the way the music industry operates. Social media as an important tool in music digitalisation is also bringing further transformation to the way artistes, producers and other music industry stakeholders conduct their business. Adopting the qualitative research method with digital ethnography and consultation of relevant literatures, this study examines the Nigerian music industry and the popular music scene through the current Afrobeats sub-genre against the backdrop

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Murayama, Yoshitaka, Akira Gotoh, Jun Ota, Hareo Hamada, Yuko Watanabe, and Hareo Hamada. "Adaptive surround technology for stereo music signals." Journal of the Acoustical Society of America 120, no. 5 (2006): 3210. http://dx.doi.org/10.1121/1.4788126.

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Weinreich, Gabriel. "Music and Technology in the Twentieth Century." Journal of the Acoustical Society of America 113, no. 5 (2003): 2381. http://dx.doi.org/10.1121/1.1562911.

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Owoaje, Tolu. "Education and Practice of the Creative Arts in the Age of Digital Technology." African Musicology Online 14, no. 2 (2025): 25–36. https://doi.org/10.58721/amo.v14i2.1123.

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“The creative arts” describes a wide range of arts in the humanities, comprising music, fine arts, and theatre arts, all of which deal with human creativity from various psycho-motor activities. The practice and teaching of the creative arts in the pre-digital era entail the use of analogies in the representation of reality and was characterised by the use of dedicated information storage and reproduction media. Hence, creative art education largely relied on teacher demonstrations within traditional classroom settings. The digital revolution, however, has provided alternative media in which t

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Calilhanna, Andrea. "Amapiano music and a psychoacoustic approach to analysis through the Ski-hill graph." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A40. http://dx.doi.org/10.1121/10.0018079.

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Local artists in African countries' use of computer technology to produce work is inevitable. The effect of popular commercial music on traditional musicians increases the genuine possibility of further extinction of local music, particularly in regional areas. The importance of preserving this music is underacknowledged as, like language, music is an essential form of communication and part of a person's identity. New developments can cast shadows over everyday music during modernisation, and young people seek new sounds. For others, especially those who have witnessed the slow disappearance

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Samarasinghe, Kamani. "A Review of the International Music Conference Themed “Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being”." Journal of Research in Music 2, no. 1 (2024): 54–62. http://dx.doi.org/10.4038/jrm.v2i1.26.

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The 5th International Conference of Faculty of Music, University of the Visual & Performing Arts 2023 (ICFM-2023) was held in the Faculty of Music premises in Colombo from 22 to 23 November 2023 with the main theme ‘Symbiosis of Arts and Cultures: Nurturing Expression, Connection, and Well-being’, brought together an assembly of over a hundred scholars and researchers from India and Sri Lanka and some other countries. The conference featured nineteen sessions delving into various dimensions of the musical landscape with the hope of fostering profound discussions across diverse areas such a

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Adelman-Larsen, Niels W. "A new variable acoustics technology and the research behind it." Journal of the Acoustical Society of America 152, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0015964.

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The paper presents the room acoustic research behind the choice of design of a new variable acoustics technology. It discusses measurements from installations in labs and in a concert hall. Performing arts centres face the challenge of providing a good sound-experience for performers and audiences for a wide variety of types of performances. From theatre or amplified music one night to concerts of quiet chamber music the next. This calls, according to for instance ISO 23591, “ Acoustic quality criteria for music rehearsal rooms and spaces”, for a variability of the reverberation time of a fact

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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.

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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the

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Chang, Yuh-Jer, Ji-Yan Han, Wei-Chung Chu, Lieber Po-Hung Li, and Ying-Hui Lai. "Enhancing music recognition using deep learning-powered source separation technology for cochlear implant users." Journal of the Acoustical Society of America 155, no. 3 (2024): 1694–703. http://dx.doi.org/10.1121/10.0025057.

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Cochlear implant (CI) is currently the vital technological device for assisting deaf patients in hearing sounds and greatly enhances their sound listening appreciation. Unfortunately, it performs poorly for music listening because of the insufficient number of electrodes and inaccurate identification of music features. Therefore, this study applied source separation technology with a self-adjustment function to enhance the music listening benefits for CI users. In the objective analysis method, this study showed that the results of the source-to-distortion, source-to-interference, and source-t

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Werner, Ann. "Girls consuming music at home." European Journal of Cultural Studies 12, no. 3 (2009): 269–84. http://dx.doi.org/10.1177/1367549409105364.

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During the past decades media technologies for producing and consuming popular music have gone through major changes. The digitalization of older media and so-called new media has transformed the landscape for music use. Technological developments in radio, television, the internet, computers, mobile phones and mp3 players shape the ways in which popular music is consumed today. This article examines two intersecting aspects of how today's media landscapes are interwoven into and shape teenage girls' uses of popular music. First, it argues that media technologies shape the girls' uses of music

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VECCHIOLA, C. "Submerge in Detroit: Techno's Creative Response to Urban Crisis." Journal of American Studies 45, no. 1 (2010): 95–111. http://dx.doi.org/10.1017/s0021875810001167.

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The Detroit electronic music (DEM) community is a group of urban residents who, since the 1980s, have used new technologies in music production as well as changing communications technologies to create a transnational arts community. This article is a result of ethnographic research of the DEM community conducted from 1999 to 2007 and is focussed on the city's biggest independent distribution company, Submerge. The phrase “electronic music” refers to both house and techno music. Techno music and house music are African American music genres created in Detroit and Chicago respectively during th

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Mallah, Mohammed, and Needal Nusirat. "The Extent of the Students' Response to Music Notation Programs in Computer and Music Subject in Art Schools of the Jordanian Universities." Dirasat: Human and Social Sciences 49, no. 1 (2022): 554–67. http://dx.doi.org/10.35516/hum.v49i1.1681.

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This study aims to reveal the extent of the music students response to the computer subject and music for musical notation programs in Arts colleges in the Jordanian University, and the study used the descriptive and analytical approach, by collecting data and information's for this topic and analyzing it. The study consisted of all students of musical arts (BA) Bachelors degree 58 males and females in the second semester of the year 2019/2020 ,and due to the great importance of linking music learning and education in modern technology. These programs are considered among the many supporting f

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Morrow, Guy. "Book Review: Capturing Sound: How Technology has Changed Music." Convergence: The International Journal of Research into New Media Technologies 12, no. 1 (2006): 101–3. http://dx.doi.org/10.1177/135485650601200108.

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19

Das, Rahul Peter, and Peter Manuel. "Cassette Culture: Popular Music and Technology in North India." Journal of the American Oriental Society 115, no. 2 (1995): 357. http://dx.doi.org/10.2307/604723.

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Goodman, Glenda. "Sounds Heard, Meaning Deferred: Music Transcription as Imperial Technology." Eighteenth-Century Studies 52, no. 1 (2018): 39–45. http://dx.doi.org/10.1353/ecs.2018.0025.

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21

Boon, Hussein. "Writing popular music fiction." Short Fiction in Theory & Practice 13, no. 1 (2023): 37–51. http://dx.doi.org/10.1386/fict_00072_1.

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A recent short story I completed in a style area described as popular music fiction, using fiction to critically explore issues within popular music and communicate these to a wider audience, will be the main focus of this article. The ideas behind the short story and the incorporation of research and subject areas to create a fictional setting, especially intersections with otherness, diversity, resistance, technology, creative practice, business and the future, will be discussed. Key central themes were those relating to race, including lack of presence and attribution and concerns about AI,

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Kostek, Bozena. "Music information retrieval seen from the communication technology perspective." Journal of the Acoustical Society of America 120, no. 5 (2006): 3236. http://dx.doi.org/10.1121/1.4788244.

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Lorenzo de Reizábal, Margarita, and Manuel Benito Gómez. "Learning Analytics and Higher Music Education: Perspectives and Challenges." ARTSEDUCA, no. 34 (December 7, 2022): 219–28. http://dx.doi.org/10.6035/artseduca.6831.

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Continually monitoring student learning, improving tutoring, predicting academic risks such as performance drops or dropouts, assessing more objectively or understanding the behavior of student groups are some of the tasks that have been beyond the reach of music teachers. The current technology of massive data processing (Big Data) and its analysis (Learning Analytics-LA) allows to achieve these goals with relative ease. The possibility of extracting individual behavior patterns facilitates attention to diversity, reduces school dropout and failure, and opens the possibility of implementing n

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Choi, Minsik, and Max Kapur. "Human-centered design in acoustics education for undergraduate music majors." Journal of the Acoustical Society of America 151, no. 4 (2022): 2282–89. http://dx.doi.org/10.1121/10.0010043.

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An acoustics course for undergraduate music majors should take advantage of the natural affinity between acoustic science and musical practice. In this study, current students and recent graduates of one university's music school were surveyed with the goal of assessing their unique needs in an acoustics curriculum. The results of the survey are reported, and several curriculum recommendations are provided based on the principles of human-centered design. In particular, the acoustics course can harness musicians' intuitive understanding of sound by incorporating musical instruments into classr

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Rachmawanti, Ranti. "Book Review : Digital Bodies: Creativity and Technology in the Arts and Humanities." Jurnal Sosioteknologi 22, no. 2 (2023): 266–69. http://dx.doi.org/10.5614/sostek.itbj.2023.22.2.12.

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"Digital Bodies: Creativity and Technology in the Arts and Humanities" by Susan Broadhurst and Sara Price explores the relationship between technology and creativity in the arts and humanities. The book argues that the integration of digital technologies has had a profound impact on the way we create, produce, and consume artistic and cultural artifacts. Throughout the book, Broadhurst and Price draw on a wide range of examples from the arts and humanities, including dance, theatre, film, music, and visual art. They also engage with a range of theoretical frameworks, drawing on post-humanism,

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MacDonald, Raymond, and Suvi Saarikallio. "Musical identities in action: Embodied, situated, and dynamic." Musicae Scientiae 26, no. 4 (2022): 729–45. http://dx.doi.org/10.1177/10298649221108305.

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This article provides a critical overview of musical identities as a research topic. A broad distinction between identities in music (IIM) and music in identities (MII) highlights how musical engagement is central to identity construction. These concepts are integrated with recent advances in psychological theory derived from enactive cognition (4E cognition) to propose a new framework for understanding musical identities, Musical Identities in Action (MIIA). This framework foregrounds musical identities as dynamic (constantly evolving, dialogical, and actively performed), embodied (shaped by

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Woods, Peter J. "Aesthetics in the Eugenics Movement: A Critical Examination." Journal of Aesthetic Education 56, no. 2 (2022): 56–77. http://dx.doi.org/10.5406/15437809.56.2.04.

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Abstract Although multiple scholars have pushed music education to embrace the aesthetic as a curricular and pedagogical touchstone, research surrounding this aesthetic turn has largely framed aesthetics as a sensory experience rather than a social technology (one that can both liberate and oppress). In response, I address the following question: how do uncritical aesthetic philosophies and the experiences they engender act as a means of oppression within music education? By way of example, I approach this question through a text analysis of writings on aesthetics from The Eugenics Review, a l

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Cvejić, Žarko. "Anxieties over technology in Yugoslav interwar music criticism: Stanislav Vinaver in dialogue with Walter Benjamin." New Sound 53, no. 1 (2019): 37–52. http://dx.doi.org/10.5937/newso1901037c.

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In Paris in late 1935, the exiled German-Jewish philosopher Walter Benjamin completed the first version of his well-known 'artwork essay', The Work of Art in the Age of Its Technological Reproducibility. In that essay, Benjamin famously welcomed the loss of 'aura' in art, the mystique, quasi-religious quality of unique, original, authentic, and aesthetically autonomous works of art, due to the advent of mass reproduction of artworks on an industrial scale, especially in the new arts of photography and cinema, rendering many of those quasi-religious qualities of 'auratic' art obsolete. Benjamin

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McLean, Alex, Ellen Harlizius-Klück, and Janis Jefferies. "Introduction: Weaving Codes, Coding Weaves." TEXTILE Journal of Cloth and Culture 15, no. 2 (2017): 118–23. https://doi.org/10.1080/14759756.2017.1298232.

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This article introduces the TEXTILE special issue on Weaving Codes, Coding Weaves, and the project of the same name, which was funded by the Arts and Humanities Research Council for 18 months from September 2014. We introduce the collaborators of this interdisciplinary project, spanning textiles, music, arts technology, computer science, mathematics, anthropology, media theory, and philosophy. We tell the multifaceted story of how we met and began to collaborate, following prescient activities in textiles, music performance, live art, and computer programming that have met confluence in our pr

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Claussen, Jan Torge. "Welcome to the glitch and make some noise: Understanding media through audio hacking." Journal of Music, Technology & Education 15, no. 1 (2023): 7–26. http://dx.doi.org/10.1386/jmte_00043_1.

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This article describes the experimental examination of various audio devices and their storage media, such as the radio, the tape recorder and the CD player, in the context of interdisciplinary university courses in arts and humanities, particularly cultural studies, with a focus on music production, sound studies and audio culture. Glitches and intrinsic noises become perceptible as aesthetic material by means of hacking and modifying audio technology failures. Following Marshall McLuhan’s concept of media, it is clear that the audio technology itself, not just the transmitted content of a pi

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Adelman-Larsen, Niels W. "Amplified music and measurement results regarding inflatable membrane absorber technology." Journal of the Acoustical Society of America 133, no. 5 (2013): 3347. http://dx.doi.org/10.1121/1.4805670.

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Milicevic, Mladen. "Cyberspace memes." Organised Sound 6, no. 2 (2001): 117–20. http://dx.doi.org/10.1017/s1355771801002072.

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This paper addresses the issues concerning the impact of music on cyberspace globalisation. It points out that Internet access is limited to only one per cent of the wealthiest human population. It also looks into the future of cyberspace music and predicts that most of the cyberspace activities are going to be unleashing one of many of humanity's predispositions – the predisposition to steal. Cyberspace represents a perfect medium for concealing a person's identity and for the masking of any of the responsibility that is expected from socially acceptable human behaviour. With these aspects in

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Li, Lei. "Improved Feature Pyramid Convolutional Neural Network for Effective Recognition of Music Scores." Computational Intelligence and Neuroscience 2022 (May 9, 2022): 1–9. http://dx.doi.org/10.1155/2022/6071114.

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Music written by composers and performed by multidimensional instruments is an art form that reflects real-life emotions. Historically, people disseminated music primarily through sheet music recording and oral transmission. Among them, recording music in sheet music form was a great musical invention. It became the carrier of music communication and inheritance, as well as a record of humanity's magnificent music culture. The advent of digital technology solves the problem of difficult musical score storage and distribution. However, there are many drawbacks to using data in image format, and

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Reiss, Josh. "Artificial intelligence in music production: Controversy and opportunity." Journal of the Acoustical Society of America 152, no. 4 (2022): A178. http://dx.doi.org/10.1121/10.0015954.

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Could a robot replace the sound engineer? Recent years have seen the emergence of intelligent systems aimed at algorithmic approaches to autonomous mixing and mastering of audio content. This talk will give an overview of the field, explanations and demonstrations of the technology, and a discussion of the challenges and directions currently being explored. We further discuss the role of artificial intelligence in audio production, and what it means for sound engineering in future.

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Disley, Alastair C., David M. Howard, and Andrew D. Hunt. "Using technology to enable people of all abilities to explore music." Journal of the Acoustical Society of America 121, no. 5 (2007): 3157. http://dx.doi.org/10.1121/1.4782209.

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Payne, Jonathan, Marek Korczynski, and Rob Cluley. "Hearing music in service interactions: A theoretical and empirical analysis." Human Relations 70, no. 12 (2017): 1417–41. http://dx.doi.org/10.1177/0018726717701552.

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There is an extensive literature concerned with the impact of music on customers. However, no study has examined its effects on service workers and their interactions with customers. Drawing together literatures on service work and music in everyday life, the article develops a theoretical framework for exploring the role of music in service exchanges. Two central factors are identified – first, how workers hear, and respond to, the music soundscape, and, second, their relations with customers, given these have the potential to be both alienating and positive to the point of meaningful social

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Alshi, Pravin R. "Recent Trends in Research & Innovation Technology in Arts, Humanities and Culture In Connection with Indian Classical Music." International Journal of Advance and Applied Research 4, no. 36 (2023): 4–9. https://doi.org/10.5281/zenodo.10333648.

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<strong>Abstract:</strong>Changing trends in performing arts rarely manifest themselves with dramatic abruptness. More often than not, they creep up silently, diverting the flow of continuing traditions and practices stealthily but resolutely. As the relentless tidal wave of globalisation swept across the world in the last two decades, Indian performing arts too were swept, tossed high and hurled down, without many even noticing that some of the great rivers of performing traditions and systems had changed course or, at times, been reined in forcefully. Looking back on some of these changes, p

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Yun, joonwon, and chulhee Lee. "A Study on the Use of Second-Generation NFT in the Popular Music Market." Korean Society of Culture and Convergence 44, no. 12 (2022): 1163–75. http://dx.doi.org/10.33645/cnc.2022.12.44.12.1163.

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The first-generation of NFTs, which gives originality and ownership to digital data, is mainly used for artwork and has exploded the scope of the digital art market. In the popular music market, attempts have been made to utilize the technology of the first-generation NFTs, but the representative features of the 2nd generation NFT, such as 'membership', 'fandom', 'intellectual property (IP)' and 'world view', can be applied independently of the characteristic gap between temporal art and spatial art. In particular, it was confirmed that the popular music market, which has a 'membership' functi

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Cartelli, Antonio, and Angela Di Nuzzo. "Digital Literacy and Competence in Students Attending a Faculty of Humanities." International Journal of Digital Literacy and Digital Competence 2, no. 1 (2011): 27–36. http://dx.doi.org/10.4018/jdldc.2011010103.

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In this paper the behaviors and tendencies in the use of digital technologies by university students are analyzed. After a short discussion of former studies and the presentation of the model for digital literacy structure and assessment in students attending compulsory school, the investigation carried out by the authors is described and the results obtained from the analysis of the university students’ answers is reported. The survey was submitted to 331 students in the Faculty of Humanities at the University of Cassino, Italy, and the students’ answers show a contradictory reality: on one s

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Fredrikzon, Johan. "1. Abstract Machines." Sensorium Journal 3 (March 26, 2021): 18–27. http://dx.doi.org/10.3384/sens.2002-3030.2021.3.18-27.

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Johan Fredrikzon spent one and a half years as a visiting research assistant at the Film and Media Studies Program at Yale University 2018/2019. Some months before he arrived, a two-day workshop on Simondon was held by the Yale-Düsseldorf Working Group on Philosophy and Media, titled Modes of Technical Objects, with scholars from the US and Germany. Fredrikzon decided to engage a few of the workshop participants for this special issue of Sensorium, with the purpose to discuss perspectives on Simondon as a theoretical instrument for thinking technology, how the French philosopher matters in th

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Malshina, Nataliya, Alexander Demchenko, and Anastasia Filonenko. "The development of cluster technology of educational programs of culture and art." SHS Web of Conferences 94 (2021): 02005. http://dx.doi.org/10.1051/shsconf/20219402005.

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The use of natural science research methods in the form of cluster analysis in the field of humanities on the example of the education system of culture and art gives an innovative direction to the development of the entire field of culture. The main significance of this development has an applied character, what contributes to the forming of the innovative potential of the territory and the attractiveness of the region. As a result of the proposed research, a method of cluster analysis of the education system of culture and art is developed, an algorithm for implementing the cognitive-hermene

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Krishnamurthy, Rohan. "Percussion, performance, pedagogy, and technology: The impact of virtual music Lessons in percussion education." Journal of the Acoustical Society of America 134, no. 5 (2013): 4157. http://dx.doi.org/10.1121/1.4831233.

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Neag, Annamaria, and Julian Sefton-Green. "Embodied technology use:." MedieKultur: Journal of media and communication research 37, no. 71 (2022): 009–30. http://dx.doi.org/10.7146/mediekultur.v37i71.125346.

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For unaccompanied refugee youth, technology occupies a central role in their lives. It helps them when crossing countries, finding a shelter, and accessing education, or even in negotiating family relations online (e.g., Çelikaksoy & Wadensjö, 2017; Marlowe & Bruns, 2020; Morrice et al., 2020). Research with young refugees shows that social media and smart devices have become essential means to resolve many challenges (Kutscher & Kreß, 2018). The aim of our article is to go beyond a utilitarian view of digital technologies and social media in the lives of migrant youth and show how

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Bouchard, Lauren, Yan-Jhu Su, and Marilyn Gugliucci. "ESPO and Academy for Gerontology in Higher Education Section Symposium: A New Normal in Teaching? Incorporating Unconventional and Creative Ideas Into Gerontology Curriculum." Innovation in Aging 5, Supplement_1 (2021): 193. http://dx.doi.org/10.1093/geroni/igab046.737.

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Abstract This symposium is intended to highlight novel, applied examples and classroom activities in gerontology curriculum. In accordance with the AGHE gerontological education competencies, these authors will provide insightful and fun connections to arts/humanities, popular culture, technology, and current events to inspire conversation, interest, self-reflection, and empathy in the classroom. The first author will discuss social media (e.g., TikTok) as a segue to difficult classroom conversations regarding negative stereotypes and ageism in society. Presenter two will discuss cross-field e

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Andersen, Kristina, and Dan Gibson. "The Instrument as the Source of New in New Music." Design Issues 33, no. 3 (2017): 37–55. http://dx.doi.org/10.1162/desi_a_00450.

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How can we treat technological matter as yet another material from which our notions of possible future instruments can be constructed, intrinsically intertwined with, and informed by a practice of performance? We strive to develop musical-performance instruments not only by creating technology, but also in developing them as aesthetic and cultural objects. A musical instrument is not an interface and should not be designed as such; instead, new instruments are the source of new in new music. Like any traditional instrument, a new instrument's potential for producing quality musical sound can

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Rossing, Thomas D. "Music and Digital Technology: Proceedings of the AES 5th International Conference edited by John Strawn." Journal of the Acoustical Society of America 84, no. 5 (1988): 1958. http://dx.doi.org/10.1121/1.397129.

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Kostek, Bozena. "Music information retrieval—The impact of technology, crowdsourcing, big data, and the cloud in art." Journal of the Acoustical Society of America 146, no. 4 (2019): 2946. http://dx.doi.org/10.1121/1.5137234.

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Gregorian, Vartan. "Technology, Scholarship, and the Humanities: The Implications of Electronic Information." Leonardo 27, no. 2 (1994): 129. http://dx.doi.org/10.2307/1575982.

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Slobin, Mark. "Ethnomusicology: From Ethnography to Cultural Studies: Cassette Culture: Popular Music and Technology in North India . Peter Manuel. ; The Arabesk Debate: Music and Musicians in Modern Turkey . Martin Stokes. ; Moving away from Silence: Music of the Peruvian Altiplano and the Experience of Urban Migration . Thomas Turino." American Anthropologist 96, no. 3 (1994): 701–3. http://dx.doi.org/10.1525/aa.1994.96.3.02a00250.

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Linz, Jill A., and Christian Howat. "Atom Tones: investigating waveforms and spectra of atomic elements in an audible periodic chart using techniques found in music production." Journal of the Acoustical Society of America 152, no. 4 (2022): A220. http://dx.doi.org/10.1121/10.0016071.

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Atom Music was introduced in 2019 as a way to create unique audible tones for each atomic element that are direct translations of that element’s spectral lines. Each atomic element produces a unique spectral line pattern that can be recognized as the fingerprint of that element. Sonification is the process of translating non-audible data into audible signals as a way to gain an understanding of the original data. In this paper, sonification is applied to atomic spectra, using technology primarily from music production. These were applied to atomic spectra using additive synthesis methods and a

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