Bibliografías temáticas / Independent Music Production

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Literatura académica sobre el tema "Independent Music Production"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 9 de febrero de 2022

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Artículos de revistas sobre el tema "Independent Music Production"

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Andrew, Teguh Vicky, Riama Maslan Sihombing, and Hafiz Aziz Ahmad. "MUSIK, MEDIA, DAN KARYA : PERKEMBANGAN INFRASTRUKTUR MUSIK BAWAH TANAH (UNDERGROUND) DI BANDUNG (1967-1990)." Patanjala : Jurnal Penelitian Sejarah dan Budaya 9, no. 2 (2017): 293. http://dx.doi.org/10.30959/patanjala.v9i2.18.

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AbstrakTren musik populer dari tahun ke tahun semakin mengguntungkan aliran musik bawah tanah (underground). Infrastruktur musik yang mandiri dan fleksibel, baik dalam tataran produksi, distribusi, dan konsumsi, menjadi kunci sukses aliran musik bawah tanah. Hal ini berlaku pula di Bandung. Namun pencapaian musik bawah tanah saat ini sebenarnya telah dirintis sejak 1970. Oleh karena itu, penelitian ini mencoba menelaah rintisan infrastruktur musik bawah tanah yang memiliki kontribusi bagi generasi sekarang. Untuk itu, penelitian ini dilakukan dengan menggunakan metode sejarah dengan pisau anal
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Walzer, Daniel A. "Independent music production: how individuality, technology and creative entrepreneurship influence contemporary music industry practices." Creative Industries Journal 10, no. 1 (2016): 21–39. http://dx.doi.org/10.1080/17510694.2016.1247626.

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Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain." Journal of British Cinema and Television 16, no. 4 (2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.

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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music
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Magaudda, Paolo. "Processes of institutionalisation and ‘symbolic struggles’ in the ‘independent music’ field in Italy." Modern Italy 14, no. 3 (2009): 295–310. http://dx.doi.org/10.1080/13532940802556578.

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Over the last fifteen years, independent rock music has become a wider field of cultural production and consumption in Italy. Indeed, while during the 1970s and 1990s the production of independent music was connected predominantly to political movements, alternative subcultures and the antagonistic attitude of the ‘centri sociali’, in the present decade, independent popular music has moved towards the centre of the national music industry and the mass media of the musical mainstream. This article describes the phases of this process of institutionalisation, showing how the politically based cu
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Bowsher, Andrew. "Legitimising Strategies in the Field of Independent Cultural Production: the Case of Reissue Record Labels in the USA." International Review of Social Research 5, no. 2 (2015): 102–12. http://dx.doi.org/10.1515/irsr-2015-0009.

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Abstract This article examines the cultural practice of effecting an independent marketplace for reissued music in the United States, based on ethnographic fieldwork in Austin, Texas with independent record labels and consumers. As the music industry is not a homogenous entity (Williamson and Cloonan, 2007), I argue that the practice of legitimising an independent marketplace requires the formulation of a ‘mainstream’ market to which the independent is opposed, and the erecting of marketplace myths (Arsel and Thompson, 2010) to substantiate the independent marketplace’s claims to differ from t
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Tarassi, Silvia. "Multi-Tasking and Making a Living from Music: Investigating Music Careers in the Independent Music Scene of Milan." Cultural Sociology 12, no. 2 (2017): 208–23. http://dx.doi.org/10.1177/1749975517733221.

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The analysis of popular music scenes has traditionally focused upon grass-roots music-making practices, without considering how these practices are rooted in the organizational and economic dynamics that characterize today’s cultural economy. This article suggests the need to look at music production in music scenes as a more professionalized activity which requires entrepreneurial skills and economic sustainability. Drawing on the findings of a six-month fieldwork study of the music scene of Milan, this article will attempt to re-conceptualize our understanding of music scenes and to explain
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Gray, Herman. "Independent Cultural Production: The Case of a Jazz Recording Company." Popular Music and Society 10, no. 3 (1986): 1–16. http://dx.doi.org/10.1080/03007768608591246.

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Hesmondhalgh, David. "The British Dance Music Industry: A Case Study of Independent Cultural Production." British Journal of Sociology 49, no. 2 (1998): 234. http://dx.doi.org/10.2307/591311.

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Hracs, Brian J. "A Creative Industry in Transition: The Rise of Digitally Driven Independent Music Production." Growth and Change 43, no. 3 (2012): 442–61. http://dx.doi.org/10.1111/j.1468-2257.2012.00593.x.

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Vurma, Allan, and Jaan Ross. "Production and Perception of Musical Intervals." Music Perception 23, no. 4 (2006): 331–44. http://dx.doi.org/10.1525/mp.2006.23.4.331.

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This Article Reports Two Experiments. In the first experiment, 13 professional singers performed a vocal exercise consisting of three ascending and descending melodic intervals: minor second, tritone, and perfect fifth. Seconds were sung more narrowly but fifths more widely in both directions, as compared to their equally tempered counterparts. In the second experiment, intonation accuracy in performances recorded from the first experiment was evaluated in a listening test. Tritones and fifths were more frequently classified as out of tune than seconds. Good correspondence was found between in
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Tesis sobre el tema "Independent Music Production"

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Rowe, D. "Independent cultural production : The case of rock." Thesis, University of Essex, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371186.

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Todorovič, Milan. "The underground music scene in Belgrade, Serbia : a multidisciplinary study." Thesis, Bucks New University, 2004. http://bura.brunel.ac.uk/handle/2438/5905.

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The focus of this study is the underground music scene in Belgrade, Serbia. This work requires the exploration of varied cultural and market factors that have shaped the scene, resulting in its present form. The explored phenomenon is complex and achieving the necessary depth of analysis will involve the use of a wide set of theoretical sources and research methods. The fieldwork includes in-depth interviews, reflective accounts of longitudinal participant observation, data collected through email correspondence, and a large amount of documentary data. Data analysis will be articulated into a
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Gatti, Vanessa Vilas Boas. "Súditos da rebelião: estrutura de sentimento da Nova MPB (2009-2015)." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-22122015-110930/.

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Este trabalho analisa a inserção de um grupo de músicos e compositores que surge no final da década de 2000 em São Paulo, denominado Nova MPB, num arranjo de forças que constitui o campo da música popular brasileira. Trata-se de caracterizar a estrutura de sentimento, definindo princípios implícitos e explícitos que permeiam a formação da Nova MPB, cristalizada na sua produção musical. Partindo do pressuposto de que a produção musical é uma produção social, o enredamento que sofrem esses artistas, tanto ao se inserirem num arranjo de forças em curso, quanto nas relações que mantém internas ao
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Velasquez, Sandra. "La production indépendante de la musique traditionnelle, communiquer pour garantir la diversité culturelle : études de cas autour de la musique traditionnelle en Colombie dans les régions Andine et Caraïbe." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30064/document.

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L’Exception Culturelle marque le point de départ des questions soulevées à propos de la singularité de l’industrie culturelle sur fond de traités commerciaux de libre-échange, débats qui aboutiront à une réponse de la part de la communauté internationale avec la Convention en faveur de la Protection et de la Promotion de la Diversité des Expressions Culturelles approuvée par l’Unesco en 2005. D’autre part, la réforme constitutionnelle de 1991 entreprise en Colombie affirme le caractère multiethnique et pluriculturel du pays, reconnaissant du même coup de façon officielle la diversité des expre
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Grillo, André Peralta. "Contracultura, trabalho imaterial e produção cultural: tendências possíveis da produção cultural no Brasil contemporâneo." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/6804.

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Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-15T12:45:17Z No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T15:45:44Z (GMT) No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5)<br>Made available in DSpace on 2018-05-22T15:45:44Z (GMT). No. of bitstreams: 1 andreperaltagrillo.pdf: 1595255 bytes, checksum: c601d54ceba56b301ed86910996567bb (MD5) Previous issue date:
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Meyer, Rosalee K. "Transfer of learning in skilled sequence production : the motor-independence of temporal representations in piano performance /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488205318507767.

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Queiroz, Tobias Arruda. "M?dia e produ??o de sentido: a reconfigura??o da ind?stria da m?sica e as estrat?gias discursivas da associa??o cultural DoSol." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16407.

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Made available in DSpace on 2014-12-17T15:08:32Z (GMT). No. of bitstreams: 1 TobiasAQ_DISSERT.pdf: 4171649 bytes, checksum: 6448383c5bd5fe3ce66222743015a2b1 (MD5) Previous issue date: 2012-04-13<br>This dissertation aims to analyse discursive strategies from Dosol in order to understand the present elements to keep its audience and the marketing activities. Based on French line of discourse analysis We look into the articles posted on its website at http://www.dosol.com.br within 2010 and We foment dialogues among music, media and communications researchers. Participant observation is slight
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CHANG, I.-CHIA, and 張益嘉. "Break out and Innovation: Analysis of Independent Music Production—The Rapper: Dog-G." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/27178816208720818727.

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碩士<br>世新大學<br>傳播管理學研究所(含碩專班)<br>101<br>One of the most significant core values for independent music is in search of the "inherent calling" pertaining to a pop musician. As a result of such "calling," independent musicians often choose to eschew the mainstream, placing more emphasis on creativity and deeming intimation in disgust. Efforts paid for composing music and writing lyrics are heavily valued in the Indies world. However, since the late 1990s onwards, the process of digitization has, on one hand, imposed tremendous challenges over these artists , and on the other hand, offered various
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Liu, Guan-Wei, and 劉官維. "What is "Indie"? The Production and Shifting of Boundaries in the Independent Music Scenes." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/zyvbks.

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碩士<br>國立清華大學<br>社會學研究所<br>103<br>People have different opinions on the idea of indie music, and this dissertation starts with the various opinions, hoping to redefine and illustrate the complicity and the ambiguous boundary of Taiwanese indie music. In my observation, I discover that there are three elements of Taiwanese indie music, which are the “Do it yourself” (as known as DIY), the orientation of participating in social movement, and the orientation of intense nationalism. With these elements, they form the unique structure of Taiwanese indie music. Also, the complicity and the vividly re
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Libros sobre el tema "Independent Music Production"

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Hickmott, Sarah. Music, Philosophy and Gender in Nancy, Lacoue-Labarthe, Badiou. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458313.001.0001.

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This book looks at the way music is used, characterised and understood in the work of Nancy, Labarthe and Badiou. Despite the differences in their philosophical-theoretical positions, they all invoke music – both directly and indirectly – to negotiate their relationship to ontology, politics, ethics and aesthetics. The book situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music ‘is’ is often assumed rather than critically re-evaluated. It argues tha
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Zak, Albin J. The Death Rattle of a Laughing Hyena. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.003.0014.

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In 1958, record producer Mitch Miller vehemently criticized the state of Top 40 radio. He argued that DJs were pandering excessively to the tastes of teenagers and playing low-quality popular music. This criticism was aimed largely at rock and roll records produced by the low-budget, independent recording firms with whom he now found himself in competition. This chapter traces the development of the major-labels’ novel pop music production practices in the 1950s, specifically the use of overdubbing, unconventional arrangements, added reverb, and Foley effects. These techniques are compared wit
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Wilkins, Kim, and Wyatt Moss-Wellington, eds. ReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.001.0001.

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ReFocus: The Films of Spike Jonze is the first collection of essays on this important and original contemporary filmmaker. It looks at his ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions. Each of Jonze’s feature films, from Being John Malkovich (1999) to Her (2013), is discussed at length, focusing on issues of authorship, narration, genre and adaptation. As well as the textual aspects of Jonze’s feature films, the contributors consider his work in music videos and shorts – investigating his
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Aguilar, Ananay. Pioneering the orchestra-owned label. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0006.

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This chapter discusses the London Symphony Orchestra’s creation and development of the pioneering orchestra-owned label LSO Live as a response to a classical music industry in crisis. The investigation of the label’s business model is framed within a production of culture perspective that considers six categories: industry structure, organizational structure, occupational careers, law and regulation, technology, and market. Drawing on ethnographic fieldwork and industry data, this chapter demonstrates how the London Symphony Orchestra increased its artistic and managerial independence and, in
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Steichen, James. 1937–1938 (II). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190607418.003.0010.

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After its debut season Ballet Caravan became an increasingly independent organization led by Lincoln Kirstein that pursued an aesthetic agenda more explicitly American than the productions of the American Ballet. Premiering works including Filling Station and Billy the Kid, the company toured from coast to coast and introduced audiences in both small towns and big cities to ballet. It provided choreographic experience for dancers Lew Christensen, Eugene Loring, and William Dollar and commissioned new music from composers Aaron Copland and Virgil Thomson. Through his work with Ballet Caravan, K
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Platte, Nathan. Variations on a Theme. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0004.

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After accepting an excellent offer from MGM in 1933, Selznick fostered a relationship with MGM composer Herbert Stothart. As with Steiner at RKO, Selznick’s penchant for longer scores helped jump-start the composer’s career. In contrast to Steiner’s drive for wholly “original” scores at RKO, however, Stothart preferred interweaving classical selections—a method born of the silent era that Selznick found attractive, even preferable. This chapter focuses on Stothart’s creative arranging of works by Beethoven, Wagner, Tchaikovsky, and others in a series of literary adaptations, including Night Fl
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Budasz, Rogério. Opera in the Tropics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.001.0001.

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This book is an exploration of the musico-theatrical practices in Brazil from the Jesuit morality plays of the sixteenth century to the Italian operas celebrating the new independent nation in the 1820s, as expressed by the creative minds and bodies of actors, singers, poets, and composers. The book shows how the threefold goal of instructing, entertaining, and distracting the population—which a Brazilian producer spelled out in 1825—had been present in diverse combinations since the early colonial period, at the hands of missionaries, intellectuals, bureaucrats, political leaders, and cultura
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Capítulos de libros sobre el tema "Independent Music Production"

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Boehmer, Konrad. "‘Non, je ne regrette rien’." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0004.

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Konrad Boehmer is the composer of numerous electro-acoustic, stage and instrumental works, a distinguished teacher of composition, music history and theory, and a prodigious writer on music, politics, and society. This chapter recounts his close involvement in the early 1970s with student communist parties in Germany and the Netherlands, and the questions that this involvement raised for his own compositional activities. Whilst the activism of these parties was in many ways naïve and short-sighted, the problems which they sought to address have only become more severe, a situation that today poses almost intractable difficulties for composers wishing to pursue independent and socially meaningful aesthetic production.
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Tzioumakis, Yannis. "Converging Indiewood: Spike Jonze, Propaganda Films, and the Emergence of Specialty Film Giant USA Films." In ReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0004.

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This chapter examines the production background of Jonze’s first feature film, Being John Malkovich. Jonze put Being John Malkovich together with the participation of both production companies and music labels (such as Michael Stipe’s Single Cell Pictures), and a new distribution company, USA Films. Although largely unrecognized at the time, USA Films also released Traffic and The Man Who Wasn’t There, before merging with other companies to become Focus Features. As Being John Malkovich went on to become a quintessential ‘indiewood’ film, this chapter examines the film’s role, and indeed the role of Jonze more broadly, in the shift toward the incorporation of global finance and distribution structures within the independent film sector. The chapter posits that Jonze’s diverse media background and ability to traverse entertainment sectors can be seen as a key example of indiewood’s drive to push independent filmmaking into new arenas in the late ‘90s.
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Allen, Ray. "The Brooklyn Soca Connection." In Jump Up! Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190656843.003.0007.

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Chapter 6 focuses on the rise of Brooklyn soca (soul/calypso), beginning with the story of the early Bronx-based independent record company Camille Records, before shifting to the three most important Brooklyn-based labels: Straker’s Records, Charlie’s Records, and B’s Records. These Caribbean-owned businesses, along with a cadre of influential calypso/soca singers and the music arrangers with whom they collaborated, played a crucial role in the evolution of modern calypso and soca music during the 1970s and 1980s. Brooklyn’s Labor Day celebration had been dominated by calypso from its inception. Indeed, calypso and the new variant soca (soul/calypso) were essential hallmarks of the festivities. Equally important, and concurrent with the rise of Brooklyn Carnival in the 1970s, was the borough’s emergence as a vital transnational center for the recording and production of calypso and soca music.
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Aune, Vigdis, and Remi Slotterøy. "Lyd og musikk i teater og performance." In Teaterproduksjon. Cappelen Damm Akademisk/NOASP, 2018. http://dx.doi.org/10.23865/noasp.43.ch3.

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The article discusses how sound can be a leading input for comprehensive dissemination of textual material, and an independent medium with distinctive tools, methods and expressive possibilities. The article is based on concepts from dramaturgy, music technology and multi­modality theory. The work on sound and music is discussed in relation to two case analyses. #nofilter is a performance for teenagers in upper secondary school, produced as part of the Bachelor’s Programme at NTNU. Performing Nyhavna is a performance produced in the Master’s Program at NTNU as part of a course in dramaturgy. In both cases, the context emerges as a premise for the development of sound and a meaningful device. When analysing the influence of context on the production and function of sound designs, the article uses concepts from multimodality.
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Hyams, Luke. "Do We Still Need Public Service Television?" In A Future for Public Service Television. The MIT Press, 2018. http://dx.doi.org/10.7551/mitpress/9781906897710.003.0032.

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This chapter argues that there is still a need for public service television. Public service broadcasters fulfil a role that neither the independent young creators nor the big media corporations can really fill. There is a sweet spot there in the middle that is so important. This is also the time for young people to get behind the BBC and Channel 4, and re-appropriate young people's vision of public service broadcasting. There are so many ways in which public service broadcasters do well for under-25-year-olds: from incredibly high production values, well thought out dramas and documentaries on Channel 4 to the BBC 6 Music, 1Xtra, the World Service, Radio 4. The news is another area where there has been a big change for a lot of the young people, given their active presence in social media.
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Bohlman, Andrea F. "Sound." In Musical Solidarities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938284.003.0002.

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Chapter 1 lays out the tension between ideas about music’s political efficacy and the productive work that sound did for the opposition in Poland. Within the intellectual community that shaped much of dissident culture, poets, filmmakers, and actors were more engaged with politics than composers and musical performers. To understand the logic behind claims that music was less politically meaningful, the chapter compares the Communist Party’s policies toward music with those debated in the oppositional journal Independent Culture. In contrast, the opposition’s cassette culture circumvented the Censorship Bureau and stumped secret police surveillance, revealing the powerful political potential of sound. Its founders were invested in tape contra print as well as cassettes’ transnational distribution and alternative economies. Listening to these cassettes as sounding artifacts reveals diverse repertories and creative editing techniques that belie the assumption that music was politically impotent for the opposition.
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Nagib, Lúcia. "The Reality of Art." In Realist Cinema as World Cinema. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987517_ch08.

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Chapter 8 is a study of Ossessione (Luchino Visconti, 1943), a film universally recognised as a masterpiece and foundational work of Italian neorealism, which has inspired new realist film currents and independent productions around the globe. Accordingly, it has been scrutinised from a variety of angles by successive generations of scholars. Yet, as is the case with any masterpiece of this magnitude, the possibilities of novel approaches to it are inexhaustible. In this chapter, I revisit the crucial topic of realism in Ossessione through a perspective hitherto underexplored in scholarship on the film, namely the contribution of opera and music to its realist endeavour. Under this light, Ossessione changes into an accomplished example of the aspiration to the total artwork.
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Mitchell, Jasmine. "Remixing Mixedness." In Imagining the Mulatta. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043284.003.0006.

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Chapter 5 explores the transnational dimensions of racial imaginings through the vision of Brazil as a mixed-race tropical paradise in both U.S. and Brazilian productions. U.S. hip-hop music videos such as Snoop Dogg and Pharrell’s “Beautiful” (2003), will.i.am’s “I Got It from My Mama” (2007), and the Hollywood film Fast Five (2011) exploit Brazil’s image as a racial paradise and a site of black male independence, based on its reputation as a racial democracy with a large mixed-race population and the imagery of the Brazilian mulata. The chapter ends with how the Brazilian state presented the Rio 2016 Olympics bidding process and the London 2012 handover ceremony on a global stage through images of multiculturalism.
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Biggi, Maria Ida. "I teatri a Venezia nel 1868." In Venezia 1868: l’anno di Ca’ Foscari. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/005.

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In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
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Carnelli, Luisella. "Operaestate Festival Veneto, A socio cultural and economic analysis." In Focus On Festivals. Goodfellow Publishers, 2015. http://dx.doi.org/10.23912/978-1-910158-15-9-2622.

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Bassano Operaestate Festival Veneto has presented more than four hundred shows in castles, parks, palaces, villas, squares and museums in thirty municipalities of the region of Veneto in the North East of Italy. The festival hosts artists and productions from all over the world, ranging from contemporary theatre to the most innovative international dance, music, opera, classical, jazz and art films. The diversity, breadth and quality of its programmes are its greatest strengths. The primary objective of the festival is to enable large audiences to experience the performing arts in its many different forms, and to do so through a programme of cultural animation across the entire region. This case study of Bassano Operaestate aims to provide a picture of the effects produced by the festival with over three decades of activity, in an area that has experienced vibrant and dynamic growth in the industrial, creative, artistic and cultural sectors, especially in recent years. The research study was commissioned by the festival and carried out by Fondazione Fitzcarraldo (FF). FF is an independent centre, based in Turin, for planning, research, training and documentation on cultural, arts and media management, eco- nomics and policies, at the service of those who create, practice, take part in, produce, promote and support arts and cultural activities.
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Actas de conferencias sobre el tema "Independent Music Production"

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Akkermann, Miriam. "(Musik)instrument (im) Computer." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.102.

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The use of the computer as a sound generator is omnipresent in current music production and ranges from music notation programs playing back samples via MIDI control to specially programmed sound synthesis programs. The term ‚computer‘ is generally understood as a complete set of hardware and software. But a closer look at this complete set is definitely worthwhile and poses some systematical challenges. In the early days of digital sound synthesis in real time, the hardware is strongly connected to the resulting sound. The control was done by means of a programming language or a specially des
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