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Journal articles on the topic 'Recording studios'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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1

Long, Marshall. "Acoustics of Recording Studios." Acoustics Today 9, no. 2 (2013): 8. http://dx.doi.org/10.1121/1.4817483.

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2

LL. "Bats copy calls in mini recording studios." New Scientist 246, no. 3279 (April 2020): 18. http://dx.doi.org/10.1016/s0262-4079(20)30801-0.

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Case, Alexander U. "Recording studios—Optimized, contrived, and augmented spaces." Journal of the Acoustical Society of America 137, no. 4 (April 2015): 2428. http://dx.doi.org/10.1121/1.4920859.

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4

Drury, G. M. "Professional video recording: alternatives for broadcast studios." Journal of the Institution of Electronic and Radio Engineers 55, no. 5 (1985): 183. http://dx.doi.org/10.1049/jiere.1985.0054.

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5

Thompson, Paul, and Brett Lashua. "Producing music, producing myth? Creativity in Recording Studios." IASPM@Journal 6, no. 2 (December 31, 2016): 70–90. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.5en.

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6

Gibson, Chris. "Recording Studios: Relational Spaces of Creativity in the City." Built Environment 31, no. 3 (September 1, 2005): 192–207. http://dx.doi.org/10.2148/benv.2005.31.3.192.

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7

Brewer, Roy. "String musicians in the recording studios of Memphis, Tennessee." Popular Music 19, no. 2 (April 2000): 201–15. http://dx.doi.org/10.1017/s0261143000000118.

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ROY BREWERIntroductionFrom the mid-1960s to mid-1970s, Memphis, Tennessee was home of one of the most successful recording industries in the USA and its popular recorded releases began to rival those of Nashville, Los Angeles, New York and Detroit. Solo artists, song writers, session musicians and arrangers became overnight successes and a rebellious and influential upstart recording industry emerged. But the growth was too fast and, fuelled by zealous egos and competition, an infrastructure was never formed resulting in a musical and financial cataclysm from which the Memphis music community

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8

Jacobs. "The Innovation of Re-Recording in the Hollywood Studios." Film History 24, no. 1 (2012): 5. http://dx.doi.org/10.2979/filmhistory.24.1.5.

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9

Herbst, Jan-Peter. "Recording studios as museums? Record producers’ perspectives on German rock studios and accounts of their heritage practice." Popular Music 40, no. 1 (February 2021): 91–113. http://dx.doi.org/10.1017/s026114302100009x.

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AbstractRecording studios are shrouded in mystery. Some have become sites of pilgrimage; other studios have been converted into heritage museums. These practices are driven by city authorities, commercial heritage institutions or music fans. This interview study gives a voice to an understudied group: record producers and studio owners as the people in charge of popular music creation. Three German rock and metal producers expressed their opinion on the usefulness of studio museums and explained their own heritage practices. Their insights demystify the ‘magical aura’ associated with recording

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10

Van Schyndel, A. J. "Digital Voice Indexing for Professional Studios." Journal of Visual Impairment & Blindness 84, no. 10 (December 1990): 516–17. http://dx.doi.org/10.1177/0145482x9008401007.

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A self-contained voice-indexing system using digital recording techniques was developed in 1981 to provide high-quality voice indexing in a studio environment. One goal was to design a simple operating procedure that would not require a technician. A major revision has resulted in a prototype second-generation digital voice indexer. The original design concepts are described, as well as improvements in the new prototype.

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Mazur, Olexander. "Sound recordings from radio archives: the restoration of music in digits." Obraz 35, no. 1 (2021): 142–51. http://dx.doi.org/10.21272/obraz.2021.1(35)-142-151.

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A holistic historical and informational analysis was conducted in the scientific context of the synergy of two systems – sound recording and radio broadcasting. Methodological support of the study was based on the use of general scientific and special methods. Taking into account the experience of «BBC Radio 1» in creating a unique collection of sound recordings and areas of use of music collections as objects of archival storage, the features of recording music sessions in recording studios of radio stations are revealed. The main methods of restoration, restoration and digitization of stock

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12

Bennett, Samantha. "Behind the magical mystery door: history, mythology and the aura of Abbey Road Studios." Popular Music 35, no. 3 (September 14, 2016): 396–417. http://dx.doi.org/10.1017/s0261143016000556.

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AbstractIn rock historiography, Abbey Road Studios is depicted as the rock canon's ultimate recording house; home to the Beatles, Pink Floyd and a generation of classic rock album production. In recent years, the studio has struggled to maintain itself as an operational recording house, yet effectively exploits its past to secure its future. This article considers issues of heritage, pilgrimage and tourism before elucidating brand ‘Abbey Road’ as a conflation of geographical location, zebra crossing, graffiti wall, recording house and aura. In separating the tangible aspects of Abbey Road's he

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13

Brown, Michael. "Review of acoustically related design factors for three recent Los Angeles area music studios." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 6 (August 1, 2021): 670–81. http://dx.doi.org/10.3397/in-2021-1622.

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The design of a professional-quality music recording studios involves a specific set of challenges, namely the need to provide high levels of sound isolation, rigorous noise and vibration control for building support systems, and the provision of acoustically appropriate room finishes. The optimization of design solutions for each of these challenges depends upon project-specific requirements, including aesthetic objectives, base building constraints and the musical genres being recorded. This paper reviews how these challenges were successfully addressed in three recent Los Angeles area music

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14

Vallee, Mickey. "The Take and the Stutter: Glenn Gould's Time Synthesis." Deleuze Studies 9, no. 4 (November 2015): 558–77. http://dx.doi.org/10.3366/dls.2015.0204.

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In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimat

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Passeri, Lineu, and Sylvio R. Bistafa. "Brazilian professional recording studios: Analysis and diagnostics of their acoustical properties." Journal of the Acoustical Society of America 112, no. 5 (November 2002): 2257. http://dx.doi.org/10.1121/1.4778995.

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HARRISON, ANTHONY KWAME. "“What Happens in the Cabin . . .”: An Arts-Based Autoethnography of Underground Hip Hop Song Making." Journal of the Society for American Music 8, no. 1 (February 2014): 1–27. http://dx.doi.org/10.1017/s1752196313000588.

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AbstractTaking an autoethnographic perspective that foregrounds the interplay between the author's artist-self and researcher-self, this article explores the relationship between agency and structure in the activities surrounding underground hip hop music making within a home studio recording space. It aims to demystify the aura of in-studio music creation by focusing on the nexus of oral/written, pre-composed/improvised, and pre-recorded/live creative practices as experienced within the context of performance. Utilizing Harris Berger's notion of stance, I discuss how hip hop recording artists

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Arcidiacono, Gabriele, and Pierpaolo Placidoli. "Reality and Illusion in Virtual Studios: Axiomatic Design Applied to Television Recording." Procedia CIRP 34 (2015): 137–42. http://dx.doi.org/10.1016/j.procir.2015.07.079.

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18

Harkness, Geoff. "Get on the Mic: Recording Studios as Symbolic Spaces in Rap Music." Journal of Popular Music Studies 26, no. 1 (March 2014): 82–100. http://dx.doi.org/10.1111/jpms.12061.

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19

Gander, Jonathan Michael. "Situating creative production: recording studios and the making of a pop song." Management Decision 53, no. 4 (May 18, 2015): 843–56. http://dx.doi.org/10.1108/md-03-2014-0165.

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20

Brookes, Daniel, Waleed I. Hamad, James P. Talbot, Hugh EM Hunt, and Mohammed FM Hussein. "The dynamic interaction effects of railway tunnels: Crossrail and the Grand Central Recording Studios." Proceedings of the Institution of Mechanical Engineers, Part F: Journal of Rail and Rapid Transit 232, no. 2 (December 19, 2016): 542–59. http://dx.doi.org/10.1177/0954409716679446.

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In cities around the world, underground railways offer an environmentally friendly solution to society’s increasing demand for mass transport. However, they are often constructed close to sensitive buildings, where the resulting ground-borne noise and vibration can cause disturbance to both the occupants and the equipment. Such a scenario occurred in central London, where the new twin tunnels of Crossrail were bored beneath the Grand Central Recording Studios, causing an immediate concern. As a result, vibration in the studios’ building was monitored throughout the Crossrail construction perio

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21

Grebin, Alex, Ninel Levenets, and Volodymyr Shvaichenko. "METHODS OF QUALITY CONTROL OF PHONOGRAMS DURING RESTORATION AND RECOVERY." ScienceRise, no. 1 (February 27, 2021): 22–32. http://dx.doi.org/10.21303/2313-8416.2021.001673.

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The object of research. Process of phonograms restoration and recovery are described. Investigated problem. Differences between some methods of quality control of phonograms during and after their restoration and recovery were investigated. The main scientific results. An instrumental method for objective assessment of the quality of phonograms is proposed, based on a non-intrusive model with parametric modeling of the phonogram signal to assess the effect of an artifact on a phonogram. The area of practical use of the research results. The results of the operational control

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22

Fenster, Mark. "Buck Owens, country music, and the struggle for discursive control." Popular Music 9, no. 3 (October 1990): 275–90. http://dx.doi.org/10.1017/s0261143000004098.

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In the early- and mid-1960s, as mainstream popular music began to reach and exploit the growing youth market, the country music genre was going through a number of important transformations (see Malone 1985; Hemphill 1970). During this period the country music industry, including record companies, recording studios, managing and booking agents, music publishers and musicians, was becoming more fully consolidated in Nashville. In addition, a different kind of dominant sound was beginning to coalesce, based on a more ‘uptown’ feel and intended for a more cosmopolitan audience accustomed to mains

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23

Boudreault-Fournier, Alexandrine. "Positioning the New Reggaetón Stars in Cuba: From Home-Based Recording Studios to Alternative Narratives." Journal of Latin American and Caribbean Anthropology 13, no. 2 (November 2008): 336–60. http://dx.doi.org/10.1111/j.1935-4940.2008.00041.x.

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Brown, Rebekah Ann, and Elizabeth Ivanoff Holborn. "The Colour Strings Method for the Young Violinist." American String Teacher 44, no. 2 (May 1994): 53–57. http://dx.doi.org/10.1177/000313139404400222.

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Violinist Rebekah Ann Brown is director of the Columbus School of Music and the Violin School of Bloomington, Indiana. At Indiana University, she specializes in violin pedagogy. She conducts psychoacoustic research in measurements of expressive intonation by recording artists and performs comparative studies of holistic philosophies. She has studied Colour Strings in this country and in London and has a Suzuki certificate from Matsumoto, Japan. Brown has taught in private studios, public schools, and universities and has been a musical director of youth symphonies. Her expertise is sought in c

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25

HELMREICH, STEFAN, and PETER McMURRAY. "Tape, Prince, and the Studio: Interview with Susan Rogers 23 May 2016, Cambridge, MA." Twentieth-Century Music 14, no. 1 (February 2017): 135–47. http://dx.doi.org/10.1017/s1478572217000111.

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Susan Rogers has lived many musical lives. As a faculty member at Berklee College of Music, she directs the Berklee Music Cognition and Cognition Laboratory, expanding her research in auditory memory, which she began during her doctoral studies with Daniel Levitin at McGill University. She also teaches analogue studio production, drawing on two decades of experience in recording studios. She is especially well known for her years working as Prince's staff engineer (1983–87), a period in which she not only encountered Prince's own unique uses of tape, but also created his now-infamous tape vaul

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26

Aretz, Marc. "Specification of Realistic Boundary Conditions for the FE Simulation of Low Frequency Sound Fields in Recording Studios." Acta Acustica united with Acustica 95, no. 5 (September 1, 2009): 874–82. http://dx.doi.org/10.3813/aaa.918219.

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27

Wilson, Oli. "Plesand Popular Music Production: A Typology of Home-based Recording Studios in Port Moresby, Papua New Guinea." Ethnomusicology Forum 23, no. 3 (September 2, 2014): 425–44. http://dx.doi.org/10.1080/17411912.2014.975142.

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28

Nam, Myoung woo. "Finding an appropriate headphone-based stereo track playback methods by referencing acoustic characters of professional recording studios." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2559. http://dx.doi.org/10.1121/1.5014356.

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29

Manning, Jane. "A SIXTIES ‘PIERROT’: A PERSONAL MEMOIR." Tempo 59, no. 233 (June 21, 2005): 17–25. http://dx.doi.org/10.1017/s0040298205000203.

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The re-discovery and recent commercial release, on Regis/Forum, of one of my earliest performances of Schoenberg's Pierrot Lunaire, cannot help but evoke a mood of piquant personal reminiscence. The recording was made in 1967 at Olympic Studios in London, roughly two years after I first became acquainted with this riveting, endlessly compelling and many-layered masterpiece. The mid-1960s were marked by optimism, eager creative responses to the challenge of the new, and a spirit of idealism that is perhaps difficult to recapture in today's more commercially-driven world.

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Jhingan, Shikha. "Backpacking Sounds." Feminist Media Histories 1, no. 4 (2015): 71–88. http://dx.doi.org/10.1525/fmh.2015.1.4.71.

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The Bombay film music industry has been dominated by male music composers for the past eight decades. In this essay, the author explores the work of Sneha Khanwalkar, a young female music director who has brought forward new sound practices on popular television in India and in Bombay cinema. Instead of working in Bombay studios, Khanwalkar prefers to step out into the “field,” carving out dense acoustic territories using portable recording technologies. Her field studio becomes an unlimited space as readers see her backpacking, collecting sounds and musical phrases, and, finally, working with

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Busenbarrick, Haley, and Kathleen L. Davenport. "Music to Our Ears: Are Dancers at Risk for High Sound Level Exposure?" Medical Problems of Performing Artists 35, no. 4 (December 1, 2020): 227–32. http://dx.doi.org/10.21091/mppa.2020.4033.

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Enduring exposure to high sound pressure levels (SPLs) can lead to noise-induced hearing loss (NIHL). In the performing arts population, NIHL has been studied primarily in the context of sound exposure experienced by musicians and less so by dancers. This research aimed to identify sound exposure that dancers may experience in some dance classes. Decibel levels were recorded in 12 dance classes (6 ballet, 4 modern, and 1 soft and 1 hard shoe Irish dance) at 8 different studios using the NIOSH SLM app on an iOS smartphone with external microphone. A minimum of five recordings of each class was

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Wilson, Oli. "From Home-Studios to Mobile Phones: Recent Trends in Popular Music Recording and Sharing in Papua New Guinea." Journal of World Popular Music 6, no. 2 (November 7, 2019): 133–50. http://dx.doi.org/10.1558/jwpm.36114.

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Kant, Sophy, Julian Walsh, Christopher R. Hall, Alison Rodger, and Gareth Mitchell. "An introduction to communicating science." New Directions in the Teaching of Physical Sciences, no. 3 (February 23, 2016): 27–32. http://dx.doi.org/10.29311/ndtps.v0i3.413.

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It is becoming increasingly recognised that students in Higher Education must acquire the skills necessary for professional and personal development, as well as for academic progress. The media have recently focused on the issue of declining public interest in the sciences and the lack of accurate reporting of science. We have developed a new programme, which endeavours to address both issues involving a three day intensive course covering writing, TV and radio. In addition to the targeted activities of learning the skills of science communication, the programme encourages partnerships, and ex

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Gluck, Robert. "The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran." Leonardo 40, no. 1 (February 2007): 20–28. http://dx.doi.org/10.1162/leon.2007.40.1.20.

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Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these

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ONAN, Berna COŞKUN, and Mert ÜNLÜSOY. "Three-Dimensional Works Designed for Schools Without Studios: A Multiple-Case Study." Journal of Education and Learning 9, no. 6 (November 25, 2020): 133. http://dx.doi.org/10.5539/jel.v9n6p133.

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Based on the learning outcomes, values, skills/proficiency and job safety for grades 6, 7 and 8 from the 2017 Visual Arts Course Curriculum (MEB, 2017), outcomes related to three-dimensional work have been associated with care, love, responsibility and inquiry and activities &ldquo;My Money&rdquo;, &ldquo;Abstract Sculpture&rdquo; and &ldquo;Talking Emojis&rdquo; have been planned. They have been completed with visually rich presentations and step by step implementation phases and presented to the subject teachers intended for practices. In the data collection process,

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Curtis, Maria. "“I Have a Voice”: Despatialization, Multiple Alterities and the Digital Performance of Jbala Women of Northern Morocco." HAWWA 13, no. 3 (October 15, 2015): 323–43. http://dx.doi.org/10.1163/15692086-12341285.

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The Jbala region of northern of Morocco is one that defies easy categorization, containing dialects, styles of dress and performance genres not found elsewhere. Jbala women, “mountain women”, are often the stuff of folklore and are well known for an inimitable form of localzajal, spoken poetry delivered in Derrija, or Moroccan Arabic. ‘Ayoua is a form of poetry that is traditionally sung outdoors as a way to help pass the monotony of daily gendered tasks such as agricultural work and herding animals and is also used to venerate local saints. This paper focuses on the shift of ‘Ayoua and Jbala

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Z., Klymko, Proskuryakov O., and Kubai R. "COMPARISON OF CREATIVITY OF THE WORLD FAMOUS ARCHITECT AND SCENOGRAPHIST F. KIESLER AND SCENOGRAPHIST AND ARCHITECT E. LYSYK." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 91–96. http://dx.doi.org/10.23939/sa2020.02.091.

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The end of the XIX and XX centuries, among other things in architecture, design, scenography were marked by the unique work of two great artists - F. Kizler, born September 22, 1890 in Chernivtsi and E. Lysyk, born September 21, 1930 in the village. Cords near Brody. Their birth, life, creative heritage showed and proved that the era of the Great Artists of the universal type, who synthesized architects, painters, sculptors, decorators, the leader among whom was KF Schinkel, did not end there. Both Kizler and Lysyk showed that such creativity not only did not end, but thanks to their activity

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38

Barlow, Christopher. "Potential hazard of hearing damage to students in undergraduate popular music courses." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 175–82. http://dx.doi.org/10.21091/mppa.2010.4036.

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In recent years, there has been a rapid growth in university courses related to popular and commercial music, with a commensurate increase in the number of students studying these courses. Students of popular music subjects are frequently involved in the use of electronically amplified sound for rehearsal and recording, in addition to the "normal" noise exposure commonly associated with young people. The combination of these two elements suggests a higher than average noise exposure hazard for these students. To date, the majority of noise studies on students have focused on exposure from pers

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Fowler, Michael. "Sounds in space or space in sounds? Architecture as an auditory construct." Architectural Research Quarterly 19, no. 1 (March 2015): 61–72. http://dx.doi.org/10.1017/s1359135515000226.

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The absolute consideration of the acoustic environment within architectural design praxis has traditionally been reserved only for those specialised listening facilities such as concert halls or recording studios. This is in spite of numerous recent calls from architects and theorists such as Juhani Pallasmaa, Ted Sheriden, Karen Van Lengen, and Björn Hellström that architectural praxis must seek to move beyond what Jeremy Till describes as the vanity of form, and what Rafael Pizarro acknowledges as the seductive immediacy of pure visual articulations of space. That architectural design has tr

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Jones, Steve. "Music and the Internet." Popular Music 19, no. 2 (April 2000): 217–30. http://dx.doi.org/10.1017/s026114300000012x.

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The fact is, if you want to make a difference in music, you have to change the machine. (Christie 1998)In my book Rock Formation I borrowed from Walter Ong and Jacques Attali when I noted that, ‘The ability to record sound is power over sound.’ (Jones 1992, p. 51) I continue to believe that statement to be true. Arguments that I then made about the increasing role computers would play in the production of music have been borne out. They were not hard forecasts to make: one only had to imagine that the processing power of computer chips would continue to increase according to Moore's Law and th

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Anderson, Isobel, and Tullis Rennie. "Thoughts in the Field: ‘Self-reflexive narrative’ in field recording." Organised Sound 21, no. 3 (November 11, 2016): 222–32. http://dx.doi.org/10.1017/s1355771816000194.

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This article considers the presence of ‘self-reflexive narrative’ in field recording. The authors interrogate a common presumption within sonic arts practice and sound studies discourse that field recordings represent authentic, impartial and neutral documents. Historically, field recording practice has not clearly represented narratives of how, when, why and by whom a field recording is made. In contrast, the social sciences have already experienced a narrative ‘turn’ since the 1970s, which highlighted the importance of recognising the presence and role of the researcher in the field, and als

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Indraswari, Erika Dignitya. "Kiat Belajar Sistem Gerak Karakter Animasi." Humaniora 3, no. 2 (October 31, 2012): 549. http://dx.doi.org/10.21512/humaniora.v3i2.3398.

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Every animator has a different way of planning to make animated characters motion system. Planning makes animation can be done by making the timing including with the drawing motion pose options on the character, making self-video recording contained own acting choices, and studying references in accordance with the animation that will be created. Creating animated characters requires skills in image selection, acting, and timing. Before going through the process of making animation, an animator must know and understand the characters and situations in a scene. Every movement and action should

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Lorre, Sean. "Rhythm and Bluebeat." Journal of Popular Music Studies 31, no. 3 (September 2019): 95–118. http://dx.doi.org/10.1525/jpms.2019.313010.

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Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually, mainstream British popular music, JA-R&B is often relegated to a side note in the histories of Jamaican ska/reggae and British blues. This essay recuperates the production, emulation, consumption and mediation of JA-R&B into a broader narrative of the British R&B boom, a phenomenon often understood as a pre

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NORTON, KAY. "“Yes, [Gospel] Is Real”: Half a Century with Chicago's Martin and Morris Company." Journal of the Society for American Music 11, no. 4 (October 20, 2017): 420–51. http://dx.doi.org/10.1017/s1752196317000360.

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AbstractThe Martin and Morris Music Studio (MMMS) imprint permeated the first fifty years of black gospel music. Jointly owned by singer/impresaria Sallie Martin (1895/6–1988) and composer/arranger/pianist/organist Kenneth Morris (1917–88), the MMMS delivered gospel songs to an eager public and offered ordinary Americans the chance to see their names in print as author or composer on the cover of a gospel octavo, copies of which could then be sold to benefit that same ordinary American. Their influence extended far beyond that service, however. Martin and her Singers performed and popularized

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Idris DM, Muhammad. "Desain Sistem, Job Order Costing." Bahtera Inovasi 2, no. 2 (November 18, 2019): 138–51. http://dx.doi.org/10.31629/bi.v2i2.1627.

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Management accounting is a financial information processing system that is used to produce financial information for the interests of the organization's internal users. As one type of information, management accounting is a type of quantitative information that uses money as a unit of measurement, which is used to assist management in implementing company management. Management accounting is financial information which is the output produced by the type of management accounting, which is used primarily by internal users of the organization. Process costing systems are used in companies that pr

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Kocherzhuk, D. V. "Sound recording in pop art: differencing the «remake» and «remix» musical versions." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 229–44. http://dx.doi.org/10.34064/khnum2-14.15.

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Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of vi

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Insani, Anugrah Prima, Indrayuda Indrayuda, and Susmiarti Susmiarti. "IDEALISME SYOFYANI TERHADAP GAYA TARI BERDAMPAK PADA POPULARITAS KESENIANNYA." Jurnal Sendratasik 9, no. 1 (February 10, 2020): 1. http://dx.doi.org/10.24036/jsu.v8i3.108024.

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AbstractThis article aims to reveal and explain Syofyani's idealism againsts dance style that has an impact on its popularity in the community. This type of research was qualitative with using descriptive method. The research instrument was the researcher as a key instrument, and it was assisted by both audio and visual recording devices. Location of the research was in Padang city. The informants were dance performers, choreographers and managers of studios and user communities. Data were collected by taking observation, interview, documentation study and literature study. Data analyses were

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Glijer, P., E. N. Abarra, H. Kisker, and T. Suzuki. "MFM studies of recording phenomena in high density longitudinal recordings." IEEE Transactions on Magnetics 32, no. 5 (1996): 3557–62. http://dx.doi.org/10.1109/20.538689.

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Xavier, Gregory, Anselm Su Ting, and Norsiah Fauzan. "Quantifying Conventional Electroencephalogram Recordings and Examining its Output Computation with a Quantitative Electroencephalogram." Journal of Cognitive Sciences and Human Development 7, no. 2 (September 22, 2021): 108–20. http://dx.doi.org/10.33736/jcshd.3656.2021.

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Quantitative electroencephalogram enables mathematical analysis of neurological recordings while conventional electroencephalogram lacks the mathematical output; hence, its usage is limited to neurological experts. This study was to determine if quantified conventional electroencephalogram recordings were compatible and comparable with quantitative electroencephalogram recordings. A group of post-call doctors was recruited and subjected to an EEG recording using a conventional electroencephalogram followed by a quantitative electroencephalogram device. The patterns and quantified recording res

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Herbst, Jan-Peter. "The formation of the West German power metal scene and the question of a ‘Teutonic’ sound." Metal Music Studies 5, no. 2 (June 1, 2019): 201–23. http://dx.doi.org/10.1386/mms.5.2.201_1.

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Despite being one of the oldest and largest metal nations, little research on metal music from Germany exists. This article focuses on the formation of the West German power metal scene. This subgenre was one of the first to be played in Germany, and bands such as Helloween, Running Wild, Gamma Ray and Blind Guardian produced a characteristic German sound that was to become famous worldwide. Based on interviews with music producers, musicians, journalists and academics, this study analyses stylistic musical features of (German) power metal, the artists’ influences and their different aspiratio

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