Academic literature on the topic 'Web platforms for music listening'
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Journal articles on the topic "Web platforms for music listening"
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Chandra Dewi, Maharsiwi Diah, and Muhamad Sofian Hadi. "Web-Based Music Study in Boosting Active Listening." English Language in Focus (ELIF) 2, no. 2 (April 6, 2020): 97. http://dx.doi.org/10.24853/elif.2.2.97-102.
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The purpose of this research was to prove that using a web-based music study is effective in boosting active listening. This research conducted in Private Elementary School Khalifa IMS Tangerang Selatan. The population of this research is third-grade students, and the sample is P3C consists of 25 students. The method of this research is quantitative method and using pre-experimental design. To collect the data, the writer used a pre-test, and post-test that given to the students. The resulting score of the data indicated that, the total score of students in the pre-test was 1338 with the average were 53.52. The lowest score of the pre-test was 37 and the highest score was 60. The total score of students in the post-test was 2211 with the average were 88.44. The lowest score of the post-test was 80 and the highest score was 97. It is significantly different from the result of pre-test and post-test scores. The results of the pre-test and post-test were calculated by using manual statistically. The calculation indicated that t – observe were 4.79 with t – tables were 1.70 and the significance 0.05. Therefore, the alternative hypothesis (H1) is accepted and the null hypothesis (H0) is rejected. The writer concluded that using Web-based music studies in teaching English was effective to improve students’ listening skills.
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Galloway, Goldschmitt, and Harper. "Guest Editors' Introduction: Platforms, Labor, and Community in Online Listening." American Music 38, no. 2 (2020): 125. http://dx.doi.org/10.5406/americanmusic.38.2.0125.
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Pearce, Elizabeth C., Rajshri Mainthia, Anne M. Tharpe, and Roland D. Eavey. "VH1 and CMT Web Surveys Reveal Music-Listening Behavior." Otolaryngology–Head and Neck Surgery 147, no. 2_suppl (August 2012): P52—P53. http://dx.doi.org/10.1177/0194599812451438a53.
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Fitria, Tira Nur. "Investigating the Emergence of Digital Platforms for Listening Learning Proficiency." Al-Lisan 6, no. 2 (September 5, 2021): 209–24. http://dx.doi.org/10.30603/al.v7i2.2217.
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This study investigates the use of any platforms in English language teaching and learning, especially in listening skills. This research design is qualitative. From the result, it shows that some technologies available both online or offline include applications or platforms that provide many choices for listening to English, they are. 1) Music platform. These platforms can be found in PlayStore, such as Joox and Spotify recommends songs for listening skills. 2) Youtube channel. Many YouTube channels for learning English listening skills include 1) Voice of America (VOA), BBC Learning English, Learn English with TV Series, English with Lucy, and Oxford Online English. 3) Podcasts. Both BBC (British Broadcasting Corporation) and VoA (Voice of America). These Podcasts offer listening skills. The other podcasts are “The English We Speak, Podcast in English, Better at English, Luke’s English Podcast, Espresso English Podcast, Anchor FM” etc. 4) Websites that are pretty representative in practicing the listening skills such as Sound English, ESL-Lab, English listening, Ello, learn English British Council, Daily ESL, Story Nory, Story Line, which can be accessed. Learning English through several applications above can be an alternative for students in practicing and improving their English listening skills. Listening exercises can be carried out by using interesting listening strategies when learning English. It depends on the teachers/lecturers who teach listening subjects and the students who learn English materials.
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Luiz Schiavoni, Flávio, Luan Luiz Gonçalves, and José Mauro da Silva Sandy. "Mosaicode and the visual programming of web application for music and multimedia." Revista Música Hodie 18, no. 1 (June 19, 2018): 132–46. http://dx.doi.org/10.5216/mh.v18i1.53577.
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The development of audio application demands a high knowledge about this application domain, traditional program- ming logic and programming languages. It is possible to use a Visual Programming Language to ease the application development, including experimentations and creative exploration of the language. In this paper we present a Visual Programming Environment to create Web Audio applications, called Mosaicode. Different from other audio creation platforms that use a visual approach, our environment is a source code generator based on code snippets to create complete applications.
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Hodgson, Thomas. "Spotify and the democratisation of music." Popular Music 40, no. 1 (February 2021): 1–17. http://dx.doi.org/10.1017/s0261143021000064.
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AbstractThe corporate rhetoric of streaming platforms often assumes a tight link between their scale-making ambitions on the one hand and the creative interests of musicians on the other. In practice, most musicians recognise that claims of musical ‘democratisation’ are deeply flawed. The creative ambivalence this produces is an understudied pillar in scholarship on digital music platforms and suggests that these systems can be more creatively constrictive than empowering. Based on ethnographic research among Spotify engineers, record labels and musicians, this article explores how music recommendation systems become inculcated with a corporate rhetoric of ‘scalability’ and considers, following Anna Tsing, how this impacts musical creativity further down the value chain. I argue that the ‘creative ambivalence’ that these technologies produce should be more fully understood as woven into a complex web of social relations and corporate interests than prevailing claims of technological objectivity and ‘democratisation’ suggest.
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Panteleeva, Yulia, Grazia Ceschi, Donald Glowinski, Delphine S. Courvoisier, and Didier Grandjean. "Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples." Psychology of Music 46, no. 4 (July 4, 2017): 473–87. http://dx.doi.org/10.1177/0305735617712424.
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The beneficial influence of listening to music on anxiety states has often been discussed. However, the empirical evidence and theoretical mechanisms underlying these effects remain controversial. The aim of this study is to conduct a meta-analysis of randomized controlled trials on the effects of music on anxiety in healthy individuals. A comprehensive search in the PsycINFO, Cochrane Library, PubMed and Web of Knowledge databases produced 19 articles complying with the eligibility criteria. The main results of the study reveal an overall decrease in self-reported anxiety ( d = −0.30, 95% CI [–0.55, –0.04]); however, the decrease was not significant for psychophysiological signals related to anxiety. Nevertheless, in several cases, listening to music greatly affects blood pressure, cortisol level and heart rate. The great heterogeneity of the studies and the lack of rigorous methodological standards, assessed with CONSORT guidelines, may have biased the results. Thus, listening to music should be cautiously considered as a part of more complex music-based psychological interventions for anxiety regulation. Nonetheless, as discussed in this article, the role of underlying processes (spontaneous memory recollections, mental imagery) must not be neglected. Further research perspectives are discussed.
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Mills, Roger, and Kirsty Beilharz. "Listening Through the Firewall: Semiotics of sound in networked improvisation." Organised Sound 17, no. 1 (February 14, 2012): 16–27. http://dx.doi.org/10.1017/s1355771811000471.
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Maturation of network technologies and high-speed broadband has led to significant developments in multi-user platforms that enable synchronous networked improvisation across global distances. However sophisticated the interface, nuances of face-to-face communication such as gesture, facial expression, and body language are not available to the remote improviser. Sound artists and musicians must rely on listening and the semiotics of sound to mediate their interaction and the resulting collaboration. This paper examines two case studies of networked improvisatory performances by the inter-cultural tele-music ensemble Ethernet Orchestra.It focuses on qualities of sound (e.g. timbre, frequency, amplitude) in the group's networked improvisation, examining how they become arbiters of meaning in dialogical musical interactions without visual gestural signifiers. The evaluation is achieved through a framework of Distributed Cognition, highlighting the centrality of culture, artefact and environment in the analysis of dispersed musical perception. It contrasts salient qualities of sound in the groups’ collective improvisation, highlighting the interpretive challenges for cross-cultural musicians in a real-time ‘jam’ session. As network technologies provide unprecedented opportunities for diverse inter-cultural collaboration, it is sound as the carrier of meaning that mediates these new experiences.
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Steinbrecher, Bernhard. "Musikhören im Zeitalter Web 2.0. Theoretische Grundlagen und empirische Befunde/Music Listening in the Web 2.0 Age. Theoretical Principles and Empirical Findings." Popular Music and Society 41, no. 5 (September 13, 2018): 574–75. http://dx.doi.org/10.1080/03007766.2018.1521778.
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Nadezhkina, E. S. "Chinese Social Media Platforms and Microblogging in the Context of Public Diplomacy." Communicology 8, no. 1 (March 31, 2020): 167–79. http://dx.doi.org/10.21453/2311-3065-2020-8-1-167-179.
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The term “digital public diplomacy” that appeared in the 21st century owes much to the emergence and development of the concept of Web 2.0 (interactive communication on the Internet). The principle of network interaction, in which the system becomes better with an increase in the number of users and the creation of user-generated content, made it possible to create social media platforms where news and entertainment content is created and moderated by the user. Such platforms have become an expression of the opinions of various groups of people in many countries of the world, including China. The Chinese segment of the Internet is “closed”, and many popular Western services are blocked in it. Studying the structure of Chinese social media platforms and microblogging, as well as analyzing targeted content is necessary to understand China’s public opinion, choose the right message channels and receive feedback for promoting the country’s public diplomacy. This paper reveals the main Chinese social media platforms and microblogging and provides the assessment of their popularity, as well as possibility of analyzing China’s public opinion based on “listening” to social media platforms and microblogging.
Dissertations / Theses on the topic "Web platforms for music listening"
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Saha, Jonas. "Contextual image browsing in connection with music listening - matching music with specific images." Thesis, Växjö University, School of Mathematics and Systems Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1062.
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This thesis discusses the possibility of combining music and images through the use of metadata. Test subjects from different usability tests say they are interested in seeing images of the band or artist they are listening too. Lyrics matching the actual song are also something they would like to see. As a result an application for cellphones is created with Flash Lite which shows that it is possible to listen to music and automatically get images from Flickr and lyrics from Lyrictracker which match the music and show them on a cellphone.
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Egermann, Hauke. "Social influences on emotions experienced during music listening an exploratory study using physiological and Web-based psychological methods." Berlin wvb, Wiss. Verl, 2010. http://d-nb.info/1001792130/04.
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Ignatiew, Nicolas. "Music radio stations from the “On Air” to the Online : Identifying media logics in the content and formats of Radio FIP on its digital platforms." Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-325169.
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Internet and digital media have profoundly reorganised the radio landscape by giving birth to new formats and patterns of radio listening. Today, traditional radio actors systematically use online platforms to diffuse their programs and communicate with their audience. This master thesis offers a case study and examines how Radio FIP, a French music station of public service, uses its digital devices to diffuse its program and produce content online. On the basis of existing researches on radio and radio diffusion online, and with the help of the concepts of format, media logics and hybrid media system, the author of this paper defines two logics of traditional radio and radio online used as reference in order to analysis the influence of media logics on the station’s material and formats online. Observation of Radio FIP’s website and social media pages on Facebook and Twitter showed a clear influence of radio online logics in the visual and informative extra content, the additional audio offers through online webradio streams, the promotion of non linear and asynchronous formats of radio listening’s and the incorporation of networked media frames. At the same time, logics of traditional radio prove to be also very significant with the pre-eminence and promotion of the station’s on air broadcast on digital devices and the reproduction of traditional radio patterns of temporality, music prescription and vertical communication on social media platforms. The coexistence of the two logics in Radio FIP online platforms characterises the station’s digital apparatus as a hybrid media space, and opens up new research trails for better understanding what influence the content formats of radio stations diffusing online.
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Heuguet, Guillaume. "Métamorphoses de la musique et capitalisme médiatique. Au prisme de YouTube (2005-2018)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL153.
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Alors qu’un ensemble de discours sociaux et académiques s’intéressent aux conséquences de la numérisation sur la valeur de la musique, YouTube, le site de publication de vidéos fondé par trois anciens employés de PayPal et aujourd’hui propriété de Google, est progressivement devenu le premier dispositif d’écoute en ligne en France. A partir de l’analyse d’archives du Web et d’une veille intermédiatique, cette thèse s’intéresse à ce qu’une entreprise venue de l’économie des techniques « fait » à la culture musicale, en tenant compte de l’évolution régulière de ses formes et de ses promesses. Une première partie s’intéresse aux effets de force et de flou dans la médiatisation de YouTube et de son rapport avec la musique. Une seconde partie analyse l’incidence de la musique dans sa construction comme innovation. Une troisième partie identifie la façon dont l’entreprise a investi la musique comme une ressource stratégique privilégiée, tout en orientant à son tour l’appropriation et à la publication de musique autour de références à la popularité et à la créativité. Une quatrième partie analyse la construction d’un marché de la musique appuyé sur un contrôle technique et juridique des œuvres et sur le financement par la publicité, pour en montrer les tensions internes. La thèse conclut à l’intrication des discours sur la transformation de la culture avec les logiques de changement permanent des acteurs du capitalisme médiatique. En regard, elle défend une micropolitique des formats techniques, médiatiques et esthétiquesWhile music digitization has become a major theme of public discourse and academic research, YouTube, a video publication website founded by three ex-employees of PayPal and now the property of Google, is today recognized as the first media used for music listening in France. Through an analysis of digital archives of the Web and the compilation of media sources, this thesis analyzes what a company coming from technology « does » to musical culture, taking into account the regular change of its forms and its promises. A first chapter deals with the effects of power and blurriness in the mediatization of YouTube and its relationship to music. A second chapter analyzes the way music shaped YouTube, proposing a genealogy of relationships between music and media apparatus, linking the invention of recorded music, the standardization of online listening software and the « musicalization » of YouTube. A third chapter discusses music as an opportunity. We identify how the company invested in music as a key strategic ressource, while shaping the practice of music gathering and publication around values of popularity and creativity. A fourth chapter concerns the construction of a market for music built upon the technological and juridical control of the works versions and the financing by advertising, interrogating the limits of this model. We conclude by showing the intricacy of discourse about the transformation of musical culture with the logics of permanent change from the actors of media capitalism. From this point, we defend the necessity of studying the micropolitics of formats
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Boutin, Frédéric. "Les maisons de disques à l’ère des médias sociaux et des services musicaux en ligne : étude de cas de quatre maisons de disques québécoises." Thèse, 2016. http://hdl.handle.net/1866/18413.
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Au cours de la dernière décennie, les outils d’enregistrement et de production musicale,
les médias sociaux et les plateformes Web de vente et d’écoute de musique en ligne ont
radicalement transformé l’industrie de la musique enregistrée. La baisse significative de vente
d’albums et les nouveaux modèles de production, de diffusion et de promotion de la musique
ont directement affecté les acteurs traditionnels comme les maisons de disques. Pendant que
certains prévoyaient la fin de ces dernières au profit de l’autoproduction et de l’autopromotion,
d’autres ont suggéré que les maisons de disques indépendantes pouvaient devenir des joueurs
incontournables de ce nouvel environnement, pourvu qu’elles s’adaptent et développent une
offre de services et une expertise répondant aux besoins réels des artistes. Ce mémoire
s’intéresse à la façon dont les maisons de disques indépendantes québécoises perçoivent et
utilisent les médias sociaux pour accroitre la visibilité des artistes qu’elles représentent. Dans
cette étude de cas multiples, quatre maisons de disques indépendantes québécoises ont été
sélectionnées. Des entretiens en profondeur ont été réalisés avec les chargés de projet Web de
ces maisons de disques indépendantes afin de connaitre leur perception et leurs usages des
médias sociaux, de même que les stratégies qu’ils emploient pour accroitre la visibilité des
artistes qu’ils représentent sur le Web. Des données tirées d’observation des activités Web des
quatre maisons de disques ont également été collectées.During the last decade, music recording and production tools, social media, and platforms for selling and listening to music in streaming have radically transformed the industry of recorded music. The decline of album sales and new models of music production, distribution, and promotion have directly affected the traditional actors of the music industry such as record labels. While some predicted that these changes would bring an end to the records labels at the benefit of self-production and self-promotion, others suggested that independent record labels could become an essential part of this new environment, provided they adapt to it and develop new services and an expertise that meet the artists’ needs. This master thesis explores the visibility of independent Quebec music artists on the social web and the role record labels plays in it. In this multiple case study, four independent Quebec music labels were selected. In-depht interviews were conducted with the Web project managers of these music labels to discuss their perception and their usage of Web platforms, as well as the strategies they employ to increase the visibility on the Web of the artistes they represent. Observational data of the Web activities of the four music labels were also collected.
Books on the topic "Web platforms for music listening"
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Mistrorigo, Alessandro. Phonodia. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-236-9.
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This essay focuses on the ‘voice’ as it sounds in a specific type of recordings. This recordings always reproduce a poet performing a poem of his/her by reading it aloud. Nowadays this kind of recordings are quite common on Internet, while before the ’90 digital turn it was possible to find them only in specific collection of poetry books that came with a music cassette or a CD. These cultural objects, as other and more ancient analogic sources, were quite expensive to produce and acquire. However, all of them contain this same type of recoding which share the same characteristic: the author’s voice reading aloud a poem of his/her. By bearing in mind this specific cultural objet and its characteristics, this study aims to analyse the «intermedial relation» that occur between a poetic text and its recorded version with the author’s voice. This «intermedial relation» occurs especially when these two elements (text and voice) are juxtaposed and experienced simultaneously. In fact, some online archives dedicated to this type of recording present this configuration forcing the user to receive both text and voice in the same space and at the same time This specific configuration not just activates the intermedial relation, but also hybridises the status of both the reader, who become a «reader-listener», and the author, who become a «author-reader». By using an interdisciplinary approach that combines philosophy, psychology, anthropology, linguistics and cognitive sciences, the essay propose a method to «critically listening» some Spanish poets’ way of vocalising their poems. In addition, the book present Phonodia web archive built at the Ca’ Foscari University of Venice as a paradigmatic answer to editorial problems related to online multimedia archives dedicated to these specific recordings. An extent part of the book is dedicated to the twenty-eight interviews made to the Spanish contemporary poets who became part of Phonodia and agreed in discussing about their personal relation to ‘voice’ and how this element works in their creative practice.
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Levtov, Yuli. Algorithmic Music for Mass Consumption and Universal Production. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.15.
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This chapter explores algorithmic music and the software tools used to create it from the perspective of media that allow it to be distributed to mass audiences, such as smartphone apps, web-based experiences, and dedicated software packages. Different types of listener input and interaction for various algorithmic music formats are analysed, and examples of each are given. Advantages and disadvantages of various distribution platforms, both present and historic, are explored, and critical reaction to this wide body of work is also reviewed. Conclusions are drawn that the field is still relatively nascent, with advances in consumer technology being a main driver for innovation in this area of music distribution and creation.
Book chapters on the topic "Web platforms for music listening"
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Elkins, Evan. "Digital Music." In Locked Out, 95–118. NYU Press, 2019. http://dx.doi.org/10.18574/nyu/9781479830572.003.0005.
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Chapter 4 analyzes regional lockout in digital music platforms. This chapter shows that regional lockout in music is a relatively recent phenomenon, having grown out of the record industry’s increasing reliance on digital download stores and streaming platforms at the expense of the region-free compact disc format. The chapter focuses on the case study of Swedish streaming music service Spotify. Built around a brand promoting music “everywhere” and “for everyone,” the platform has instead been central to debates over regional lockout. Spotify and other similar streaming music platforms belie their geoblocked condition by presenting themselves as services offering global, omnipresent, and customizable listening experiences. Chapter 4 argues that streaming music platforms’ promises of easily accessible music, mobility, and cosmopolitan interconnection in part mask their inconsistent global availability and mechanisms of geolocative back-end control. In doing so, they conflate mobility in an individualized, experiential sense with a global erasure of borders.
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Lau, Angela. "When the Past Meets the Present (Intermediate)." In The Music Technology Cookbook, 95–100. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0015.
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The activities described in this chapter encourage learners to develop skills in listening, analysis, and arranging through the use of aQWERTYon, a web-based musical keyboard. This unit uses an inquiry-based learning approach based on the idea that music continuously changes as a response to societal, cultural, and technological impacts. Designed for students in the fourth grade, learners are introduced to what a musical arrangement is, and are given arrangements to analyze and determine what parts of them are taken from the past, present, or both. Following, learners are tasked with creating their own arrangements relevant to their own respective cultures and present them to the class.
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Dou, Adam, Vana Kalogeraki, Dimitrios Gunopulos, Taneli Mielikainen, and Ville H. Tuulos. "Using MapReduce Framework for Mobile Applications." In Advances in Multimedia and Interactive Technologies, 181–201. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-144-3.ch009.
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Most of today’s smart-phones are geared towards a single user experience, whether it is reading a book, watching a movie, playing a game or listening to music. However, there has been a shift towards providing a more complex and social experience: applications are being developed and deployed to help users connect and share information with each other.These applications allow people to keep track of their friends’ statuses in real time, or to help them navigate around traffic congestion. While exciting, most such applications are currently being developed in an ad-hoc nature, reinventing and duplicating a lot of work to support their distributed operations. In this work, we present our framework, Misco. A platform for developing distributed applications for mobile smart-phones. We also explore some existing solutions, applications and related systems. We then discuss some of the many future research paths and show that solutions like ours are just the beginning.
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Pimenta, Marcelo S., Evandro M. Miletto, Damián Keller, Luciano V. Flores, and Guilherme G. Testa. "Technological Support for Online Communities Focusing on Music Creation." In Cyber Behavior, 744–66. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5942-1.ch038.
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People have always found music significant in their lives, whether for enjoyment in listening, performing, or creating. However, music making in modern life tends to be restricted to the domain of the professional artists, instrumentalists, and singers. Since the advent of Web 2.0 and Rich Internet Applications, the authors' research group has been investigating the use of Web-based technology to support novice-oriented computer-based musical activities. The main motivation of their work is the belief that no previous musical knowledge should be required for participating in creative musical activities. Consequently, any ordinary user—non-musician or novice—may enhance his creativity through engagement, entertainment, and self-expression. The goal of this chapter is to propose several concepts that emerged during their research concerning novice-oriented cooperative music creation and musical knowledge sharing (a sophisticated activity distinct from the common and well-known music sharing for listening). The authors also discuss key characteristics of Brazilian culture and the creativity styles that inspired their work. They illustrate their perspective by showing how concepts implemented and derived from cases investigated in Brazil represent a comprehensive context for embracing cooperation, flexibility, cross-cultural diversity and creativity. The resulting communityware has music as its intrinsic motivation.
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Yeo, Irvine, Jing Cong, Khin Mu Yar Soe, and Fan Jing. "Smartphone Application Wave and Trends on Different Platforms." In Understanding the Interactive Digital Media Marketplace, 205–17. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-61350-147-4.ch017.
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Smartphones have experienced exponential growth and this in itself changes the way consumers use mobile communications. Traditionally, a phone is used only for communicating via voice but the Smartphone has extended the functions to include music player, camera, web browsing and executing of other applications. This wave of change has affected the traditional business model of telecommunication companies as well as creates new opportunities for platform owners to gear towards full integration. This chapter seeks to explore and discuss these issues and opportunities revolving around the platform, trends, problems and opportunities.
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Ryzewski, Krysta. "Making Music in Detroit: Archaeology, Popular Music, and Post-industrial Heritage." In Contemporary Archaeology and the City. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198803607.003.0011.
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Detroit’s popular music-making legacy has remained a foundation for the city’s symbolic identity throughout the twentieth century and into the present. For over a century music production in Detroit has been part of a thriving local industry and global enterprise, with different genres and styles of music measuring the city’s changing composition over the years (Holt and Wergin 2014). The sounds emerging from the city, coupled with its built environment and physical landscape, tell the stories of a creative, shapeshifting industrial and post-industrial centre defined by melodies, artists, and sounds that are distinctly Detroit—The Hucklebuck, Martha and the Vandellas, Cybortron. Attention to the assemblages of buildings, landscapes, people, and the soulful sounds associated with them reveal the underlying power of the city’s creative accomplishments to unite disparate communities, call attention to issues affecting urban well-being, and preserve memories of Detroit’s rich musical heritage. In its expansive repertoire of recording history and in its vast contemporary terrain of decay and ruination, Detroit’s musical heritage holds tremendous potential for archaeological research and cultural heritage initiatives. Through creative documentation platforms and dissemination practices contemporary archaeological approaches are particularly well suited for engaging place-based and thematic heritage discourses about Detroit and other post-industrial cities. This chapter presents the ‘Making Music in Detroit’ project, a contemporary archaeology and digital storytelling exercise focused on popular music assemblages and their placemaking power in Detroit, a city that is simultaneously defined and encumbered by the traumatic and festering post-industrial wounds of poverty, mismanagement, and ruination. In a series of twenty-four videos and web texts, ‘Making Music in Detroit’ illustrates how archaeologists might use digital storytelling to involve music-making places and their physical remains (some ruined, others intact) in communicating present-day senses of place as they relate to urban histories of creativity. These stories are part of a substantially broader and more formal multidisciplinary digital humanities effort to map Detroit’s transformations over the course of the past century, as it transitioned first from a thriving, wealthy, and innovative centre of manufacturing industries to an epicentre of post-industrial struggle, and more recently, from a bankrupt city into a stage for selective, privatized, and creative revitalization efforts (Ethnic Layers of Detroit project 2016; on creative cities, see White and Seidenberg, Chapter 1).
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Greher, Gena R., and Jesse M. Heines. "Platforms and Tools: Anything You Can Do, I Need to Do Cheaper." In Computational Thinking in Sound. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199826179.003.0011.
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On their page intended to woo prospective graduate students, the Georgia Tech School of Music website says: . . . Successful design and development of music technology systems must be supported by knowledge of music theory, perception, composition, and performance, as well as digital media, computing, electrical and mechanical engineering, and design. . . . We don’t disagree, but that’s an awful lot to know! What’s more, requiring students to have even a subset of these skills before they can “get in the game” deprives a huge percentage of them the opportunity to learn valuable computing skills through the engaging power of music. There is no end to the money you can spend on technology to gain the ability to design and create. For certain types of projects, professional or “prosumer” software applications boasting the latest bells and whistles might in fact make total economic sense in terms of functionality and time. However, we don’t feel that it’s necessary to jump into the higher end of the market at the beginning stages of learning computational skills. In addition, such costs are prohibitive for most undergraduates and even graduate students. Of course, you could outfit a computer lab available to students with this level of software, but then they would have to do all their assignments in the lab. This is not a practical solution for our students because so many of them are commuters or work off campus and are unable to spend significant time in our labs outside of class time. We think it’s important that students can run the same software on their own systems that is demonstrated in class and with which they are expected to do their assignments. We therefore suggest that you adopt software platforms that you can download freely from the web, but that still allow you to explore broad computing and music concepts common to the higher end platforms. We don’t contend that such software is as sophisticated or as polished as its professional or “prosumer” cousins, but it is most likely fully sufficient for your teaching purposes.
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Boczkowski, Pablo J. "Entertainment." In Abundance, 125–64. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565742.003.0005.
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Chapter 5 focuses on the reception of entertainment. The survey reveals that the top three entertainment activities among the respondents are watching television, listening to music, and being on social media, in that order, and that age is the preeminent organizer of entertainment consumption. The interviews show the continued relevance of routines in reception practices, and highlight the versatility of watching television. This versatility applies to how people access the content; the devices through which they watch it; with whom they do this; and the habits associated with this experience. This versatility contrasts with the perceived rigidity of going to the movies, watching a play, and visiting a museum. The affect related to consuming audiovisual entertainment within the household is overwhelmingly positive, and there is a high level of attachment to serialized content on streaming platforms. The analysis shows an experiential appreciation of audiovisual entertainment content on television.
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Walikar, Gyanappa A. "Mobile Applications Used for Human Rights." In Mobile Devices and Smart Gadgets in Human Rights, 171–82. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6939-8.ch008.
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A mobile application is a computer program or application developed to run on a small handheld mobile device such as mobile phones, smartphones, PDAs, and so on. Such devices are sold with several apps bundled as pre-installed software, such as a web browser, email client, calendar, mapping program, and an app for buying music or other media or more apps. Apps that are not preinstalled are usually available through distribution platforms called app stores such as the Apple App Store, Google Play, Windows Phone Store, and BlackBerry App World, etc. Usage of mobile apps has become increasingly prevalent across mobile phone users in the world. A recent study reported that during the previous quarter, more mobile subscribers used apps than browsed the web on their devices. Thus, a mobile application can aid in the prosecution of human rights violations, atrocities, human trafficking, and child laboring. In this chapter, authors provide a comprehensive study, design patterns, usage of several mobile applications designed for protecting human rights.
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Kochikar, V. P. "Managing Organizational Knowledge in the Age of Social Computing." In Social Computing, 1317–24. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-984-7.ch083.
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Technology, since the days of the Industrial Revolution, has been used by large corporations, such as factories and the railways, to great advantage. Starting around the end of the 19th century, technology began to be used directly by the consumer, but remained essentially a means of satisfying a personal need, such as lighting or listening to music. In the past decade, as technologies such as e-mail, Web, Weblogs (blogs), Wikis, and instant messaging have become pervasive, the way technology is used by individuals has changed—it has increasingly been put to use to meet social needs, such as interaction, sharing, and networking. This new paradigm of technology use, and the technologies that have enabled it, may be termed social computing. By its very nature, social computing facilitates the sharing and leveraging of knowledge residing within a community of people. In this article, we discuss how social computing can act as the primary mechanism that enables the management of knowledge within an organization.
Conference papers on the topic "Web platforms for music listening"
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Schedl, Markus, Eelco Wiechert, and Christine Bauer. "The Effects of Real-world Events on Music Listening Behavior." In Companion of the The Web Conference 2018. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3184558.3186936.
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Noble, Allison. "Researching the Impact of Music Streaming on Social and Personal Listening Behaviours." In WebSci '21: WebSci '21 13th ACM Web Science Conference 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3462741.3466675.
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Hansen, Christian, Rishabh Mehrotra, Casper Hansen, Brian Brost, Lucas Maystre, and Mounia Lalmas. "Shifting Consumption towards Diverse Content on Music Streaming Platforms." In WSDM '21: The Fourteenth ACM International Conference on Web Search and Data Mining. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3437963.3441775.
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Goto, Masataka, Jun Ogata, Kazuyoshi Yoshii, Hiromasa Fujihara, Matthias Mauch, and Tomoyasu Nakano. "PodCastle and songle: Crowdsourcing-based web services for spoken document retrieval and active music listening." In 2012 Information Theory and Applications Workshop (ITA). IEEE, 2012. http://dx.doi.org/10.1109/ita.2012.6181786.
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