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Articoli di riviste sul tema "Music technology"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Adu-Gilmore, Leila. "Accessing marginalized musics through adaptable, culturally sustaining music technology modules." Journal of Popular Music Education 7, no. 3 (2023): 317–34. http://dx.doi.org/10.1386/jpme_00130_1.

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Black music technology has innovated across genres such as dub, hip hop, techno and Afrobeats, redefining music as we know it. Music research subfields (performance, composition, musicology, technology) have historically excluded black musics but music education has begun to include them. Critical Sonic Practice Lab created a culturally-sustaining music technology toolkit and modules in Accra, Ghana. We exploit music technology’s constant evolution, engaging critical sonic practice’s intersectional approaches to the continuum of improvisation and composition, and music theory. Adjusting teachi

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2

Makhammatov, Abdumannon. "Computerization Technology Of Music Education." American Journal of Social Science and Education Innovations 02, no. 10 (2020): 418–21. http://dx.doi.org/10.37547/tajssei/volume02issue10-67.

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3

Barnicle, Stephan. "Music Technology." Music Educators Journal 84, no. 3 (1997): 9. http://dx.doi.org/10.2307/3399047.

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4

Tarabella, Leonello. "Music, communication, technology." Journal of Science Communication 04, no. 01 (2005): C05. http://dx.doi.org/10.22323/2.04010305.

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5

Kassner, Kirk. "Funding Music Technology." Music Educators Journal 84, no. 6 (1998): 30–35. http://dx.doi.org/10.2307/3399099.

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6

Mozée, Ben. "Music Technology Labs." Phi Delta Kappan 86, no. 5 (2005): 416. http://dx.doi.org/10.1177/003172170508600519.

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7

Netti, S. Yollis Michdon, and Irwansyah Irwansyah. "Spotify: Aplikasi Music Streaming untuk Generasi Milenial." Jurnal Komunikasi 10, no. 1 (2018): 1. http://dx.doi.org/10.24912/jk.v10i1.1102.

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The large population in Indonesia has become a huge market for many products, including streaming music-based technology products, to reach the target audience of young people. One of the applications that is becoming a trend at the moment is Spotify. A streaming music platform that has many interesting features, and is widely used by millenial generation around the world, including in Indonesia to listen to music. This paper aims to explain clearly and detail about Spotify as the world's largest streaming music platform, how the business model used by Spotify, how Spotify helps musicians to m

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8

Flašar, Martin. "Technology or theology? : music beyond technology." Musicologica Brunensia, no. 1 (2017): 63–68. http://dx.doi.org/10.5817/mb2017-1-6.

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9

Sukmayadi, Yudi. "Musik Kontemporer dalam Kurikulum dan Buku Sekolah di Jerman." Resital: Jurnal Seni Pertunjukan 15, no. 2 (2014): 169–78. http://dx.doi.org/10.24821/resital.v15i2.851.

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Tulisan ini menyajikan tentang posisi musik kontemporer dalam kurikulum dan buku sekolah di Jerman. Hal yang dibahas adalah pemilihan materi musik kontemporer untuk setiap kelas, jenis musik kontemporer yang dibahas, serta metode didaktis yang diterapkan. Berdasarkan analisis dapat disimpulkan bahwa melalui pelajaran musik kontemporer, siswa tidak hanya mempelajari hal musikal, namun juga mempelajari masalah kontekstualnya di masyarakat, termasuk di dalamnya masalah musik kontemporer dan perkembangan teknologi. Contemporary Music in German Curriculum and Schoolbooks. This study presents the po

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10

Zhang, Peiwei, and Xin Sui. "Application of Digital Music Technology in Music Pedagogy." International Journal of Emerging Technologies in Learning (iJET) 12, no. 12 (2017): 4. http://dx.doi.org/10.3991/ijet.v12i12.7966.

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This paper expounds the concept and current development of digital music technology in modern times by exploration and analysis around the music technology, in order to better develop music pedagogy. In allusion to the contemporary music pedagogy, a new instruction idea is proposed by analyzing the digital music technologies such as MIDI, digital audio and other new music carriers, namely, an instruction model which integrates the digital music technology and the traditional teaching mode and means in the music classroom of middle school. In order to validate the availability of digital music

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11

Sanders, Paul. "Technology in Music Education." Musical Times 133, no. 1795 (1992): 440. http://dx.doi.org/10.2307/1002363.

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12

Rudolph, Thomas. "Technology and music education." ACM SIGCUE Outlook 21, no. 2 (1991): 84–86. http://dx.doi.org/10.1145/122463.122473.

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13

Di Scipio, Agostino. "Questions concerning music technology." Angelaki 3, no. 2 (1998): 31–40. http://dx.doi.org/10.1080/09697259808571982.

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14

Willard, Joanne B. "Exploring music through technology." TechTrends 37, no. 3 (1992): 23–24. http://dx.doi.org/10.1007/bf02761314.

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15

Landy, Leigh. "MusicTechnology,Music Technology orMusicTechnology?" Contemporary Music Review 32, no. 5 (2013): 459–71. http://dx.doi.org/10.1080/07494467.2013.849874.

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16

Stivers, Richard. "Vulgar Music and Technology." Bulletin of Science, Technology & Society 27, no. 2 (2007): 133–35. http://dx.doi.org/10.1177/0270467606298220.

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17

Maharaj, Adita, and Akini Gill. "Technology in Music Education." Canadian Journal of Learning and Technology 49, no. 2 (2023): 1–15. http://dx.doi.org/10.21432/cjlt28153.

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This study examined the use of music software as a pedagogical tool for the delivery of specific content in a music education course offered to Certificate and Bachelor of Education Program students at a Caribbean university. The existing course uses a traditional approach, and thus, the study is significant as the results would propel a shift toward transformational teaching. Twenty-four university students were chosen for the study which adopted a mixed methods approach. Over one semester, participants used a free, open-source music software program to learn simple time signatures. Students

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18

Putra, Vindo Alhamda, Hafif HR, and Ahmad Zaidi. "Musik Programa Sebagai Alternatif Pendokumentasian Peristiwa Masa Lalu (Programme Music as an Alternative for Documenting Past Events)." Musica: Journal of Music 1, no. 2 (2021): 105. http://dx.doi.org/10.26887/musica.v1i2.1913.

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Artikel ini memuat tentang karya musik programma yang berangkat dari peristiwa galodo yang terjadi di Bukik Tui Padangpanjang pada tanggal 4 Mei 1987. Peristiwa ini terjadi pada sore menjelang magrib dan memakan korban 133 jiwa. Pengkarya menghadirkan suasana sesuai alur cerita sebelum terjadinya galodo sampai setelah terjadinya peristiwa tersebut. Konsep garapan yang dihadirkan berupa musik multimedia, dengan menggunakan software Digital Audio Workstation. Masalah dalam artikel mencakup tentang bagaimana produksi musik digital yang dalam menjadi alternatif pendokumentasian peristiwa. Metode y

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19

He, Jingyin, Ajay Kapur, and Dale A. Carnegie. "Contemporary Practices of Extending Traditional Asian Instruments Using Technology." Organised Sound 19, no. 2 (2014): 136–45. http://dx.doi.org/10.1017/s1355771814000077.

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Ongoing development of audio and informational technology has had an impact on almost every aspect of the musical arts. Cultures and subcultures have cross-pollinated through the rapid exchange of information and have metamorphosed into new fields of technology-based art forms, one of which is the integration of technology in Asian ethnic musics. This article specifically focuses on the integration of technology with the traditional music of India, Indonesia, China, Japan and Korea. By reviewing the history of this metier, we explore the various applications of technology in traditional Asian

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20

Bell, Adam Patrick, and Leila Adu-Gilmore. "Appropriately eclectic: Music technology and popular music education." Journal of Popular Music Education 7, no. 3 (2023): 235–39. http://dx.doi.org/10.1386/jpme_00124_2.

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Editors of the Special Issue on music technology and popular music education, adam patrick bell and Leila Adu-Gilmore, discuss the impact of the COVID-19 pandemic and the murder of George Floyd on global society to contextualize the period in which the articles in the issue were written. They suggest that popular music education can be a vehicle to examine inclusive musical practices. bell and Adu-Gilmore detail that in their original call for papers they wanted to avoid defining the term ‘music technology’ with the hope that authors would interpret and define music technology in diverse and/o

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21

Chen, Steven. "Cultural technology." International Marketing Review 33, no. 1 (2016): 25–50. http://dx.doi.org/10.1108/imr-07-2014-0219.

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Purpose – The purpose of this paper is to outline a framework for marketing cultural goods (e.g. music) to global markets by examining modes of entry and positioning strategies used by media producers of the South Korean music industry. Design/methodology/approach – An historic analysis was implemented to investigate the modalities and structures through which cultural products are produced and disseminated. Data for this study came from 314 articles collected from www.allkpop.com, a leading English-language, South Korean popular culture news site. Findings – The cultural technology framework

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22

BORN, GEORGINA. "On Musical Mediation: Ontology, Technology and Creativity." Twentieth-Century Music 2, no. 1 (2005): 7–36. http://dx.doi.org/10.1017/s147857220500023x.

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This article develops a theoretical analysis of music and mediation, building on the work of Theodor Adorno, Tia DeNora and Antoine Hennion. It begins by suggesting that Lydia Goehr’s account of the work concept requires such a perspective. Drawing on Alfred Gell’s anthropology of art, the article outlines an approach to mediation that incorporates understandings of music’s social, technological and temporal dimensions. It suggests that music’s mediations have taken a number of historical forms, which cohere into assemblages, and that we should be alert to shifts in the dominant forms of music

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23

Putra, Riomanadona M., and Irwansyah Irwansyah. "Musik Rilisan Fisik Di Era Digital: Musik Indie Dan Konsumsi Rilisan Musik Fisik." Jurnal Komunikasi 11, no. 2 (2019): 128. http://dx.doi.org/10.24912/jk.v11i2.4062.

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The release of physical music will never be extinct, as is technology disrupting audio technology. This article provides an explanation of physical music releases in the digital era, where vinyl records, audio and CD tapes are still consumed by connoisseurs and musicians alike. Although digital music players and online music applications such as Joox, Spotify, Apple Music or Sky Music is very important in the spread of music in the digital era. The attitude of independent musicians or who are familiar with the term indie musicians still maintains the release of physical music as a tool for the

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24

Lindgren, Monica, Ragnhild Sandberg-Jurström, and Olle Zandén. "Care as technology for exclusion." Nordic Research in Music Education 2, no. 2 (2021): 58–73. http://dx.doi.org/10.23865/nrme.v2.2916.

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In this article, we explore and problematise admission tests to specialist music teacher education in Sweden from a governing perspective, where higher music education is considered a discursive practice. It illustrates how power operates in legitimating the tests. The study uses stimulated recall in jury members’ talk about assessing applicants for music teacher education programmes, and uses Foucault’s concept of governmentality to reveal entrance tests as something regarded as generally good for all. This operating discourse is built on governmental rationality and processes that make it po

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25

Maglov, Marija. "Past music, future music: Technology and music institutions in the 20th century." New Sound, no. 48-2 (2016): 53–64. http://dx.doi.org/10.5937/newso1648053m.

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In his text Technology and the Composer Pierre Boulez writes about new technologies that emerged in the 20th century, primarily created for the purposes of music recording and reproduction, but also established as a means of innovation in electronic and electro-acoustic music practice. Boulez points to two directions where technology and music are in question: conservative historicism and progressive technology, enabling the development of new music material and innovation. By using Boulez's text(s) as a point of departure, the author considers the roles those new technologies had in the devel

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26

Wirandi, Rika, and Fifie Febryanti Sukman. "POWER PEREMPUAN DALAM TRADISI MUSIK BECANANG DI BENER MERIAH." Gorga : Jurnal Seni Rupa 11, no. 2 (2022): 572. http://dx.doi.org/10.24114/gr.v11i2.40085.

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This study aims to identify and examine the existence and role of women in the bronze musical tradition: becanang in Bener Meriah. The extent of the role of men in Aceh, including various forms of performing arts activities known as Islamic – the becanang music culture has survived for a long time until now with supporters and performers of the culture being women. The importance of this research to be carried out for several reasons and considering the lack of studies on traditional music from a gender perspective to date in Indonesia, especially in Aceh. In addition, the reason for the low i

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27

Wirandi, Rika, and Magfhirah Murni B. P. "FUNGSI MUSIK DALAM UPACARA PERAYAAN RITUAL THAIPUSAM ETNIS HINDU TAMIL DI BANDA ACEH." Gorga : Jurnal Seni Rupa 10, no. 2 (2021): 415. http://dx.doi.org/10.24114/gr.v10i2.28379.

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Thaipusam is a celebration ceremony held sacredly in the form of a prayer ritual procession and the procession of the Lord Murugan statues which is held annually by the Tamil Hindu ethnic community in Banda Aceh. This ritual is held in the Thai month according to the Hindu Tamil calendar, as a form of respect for Lord Murugan for his victory in fighting evil. This celebration ceremony is also a place to fulfill vows and purify themselves for ritual participants - which is accompanied by the attraction of stabbing sharp objects into certain body parts such as the tongue, lips, cheeks, forehead,

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28

Setiyawan, Clemens Felix, and Dyah Murwaningrum. "The Relationship of Music-Sound, Technology and Internet." International Conference of Innovation in Media and Visual Design 1, no. 1 (2020): 160–69. http://dx.doi.org/10.31937/imdes.v1i1.1130.

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Nowadays, music creation, collaboration, and publication are easier because of technology. Most young generations have sent music data, made, sold, bought music files on the internet. This changed music processes certainly resulted in different outcomes. Listening and creating music by new means, can change music itself. Technology has simplified tools, and the internet has simplified the distance. But new problems and questions have been found. How were the internet and technology influenced the quality of music, music creator, music appreciator and the form of music. The aims of this researc

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29

Li, Zijin, and Stephen McAdams. "Guest editorial: Music perception and cognition in music technology." Cognitive Computation and Systems 4, no. 2 (2022): 97–99. http://dx.doi.org/10.1049/ccs2.12066.

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30

Wang, Lingdan. "Application of Computer Music Technology in College Music Teaching." Journal of Physics: Conference Series 1915, no. 3 (2021): 032073. http://dx.doi.org/10.1088/1742-6596/1915/3/032073.

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31

Greher, Gena R. "Music Technology Partnerships: A Context for Music Teacher Preparation." Arts Education Policy Review 112, no. 3 (2011): 130–36. http://dx.doi.org/10.1080/10632913.2011.566083.

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32

Draper, Paul. "Music two-point-zero: music, technology and digital independence." Journal of Music, Technology and Education 1, no. 2 (2008): 137–52. http://dx.doi.org/10.1386/jmte.1.2and3.137_1.

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33

McDowall, Janet. "Making Music Multimodally: Young Children Learning with Music Technology." International Journal of Learning: Annual Review 16, no. 10 (2009): 303–16. http://dx.doi.org/10.18848/1447-9494/cgp/v16i10/46681.

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34

KEYES, CHRISTOPHER J. "Recent technology and the hybridisation of Western and Chinese musics." Organised Sound 10, no. 1 (2005): 51–56. http://dx.doi.org/10.1017/s135577180500066x.

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Although the hybridisation of Western and Chinese musics has been progressing for over a century, many early attempts tended to treat Chinese material in a rather superficial manner. This resulted in mere ‘Orientalist’ Western pieces and rather bland pentatonic/romantic ‘Chinese’ music that simply harmonised the basic outline of popular Chinese melodies with Western chord progressions. The use of recent technologies has greatly accelerated the pace and depth of this hybridisation and solved many of its artistic problems. Technological advances now make it possible and practical to incorporate

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35

De Li, De Li, Jiazheng Gong De Li, Zhaolong Liu Jiazheng Gong, and Xun Jin Zhaolong Liu. "Research on Copyright Protection Technology based on MIDI Music Structural Features." 電腦學刊 34, no. 2 (2023): 053–68. http://dx.doi.org/10.53106/199115992023043402005.

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<p>Due to the extensive use of Musical Instrument Digital Interface (MIDI) music in education, entertainment and business, copyright infringements of MIDI music are increasing rapidly. The low robustness of existing MIDI music watermarking is the main problem. Therefore, this paper proposes two novel MIDI music watermarking algorithms to comprehensively protect the copyright of MIDI music. We first propose a dual threshold audio watermarking algorithm based on MIDI note time difference and velocity value. It extracts a main melody audio track of MIDI music through a Ho-Kashyap (H-K) algo

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36

Peters, G. David. "Music Software and Emerging Technology." Music Educators Journal 79, no. 3 (1992): 22–63. http://dx.doi.org/10.2307/3398478.

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37

Forest, Joyce. "Music Technology Helps Students Succeed." Music Educators Journal 81, no. 5 (1995): 35–48. http://dx.doi.org/10.2307/3398854.

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38

Beckstead, David. "Will Technology Transform Music Education?" Music Educators Journal 87, no. 6 (2001): 44. http://dx.doi.org/10.2307/3399692.

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39

Walls, Kimberly C. "Technology for Future Music Educators." Journal of Music Teacher Education 9, no. 2 (2000): 14–21. http://dx.doi.org/10.1177/105708370000900204.

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40

De Ritis, Anthony. "Music Technology at Northeastern University." Journal of the Acoustical Society of America 110, no. 5 (2001): 2625. http://dx.doi.org/10.1121/1.4776858.

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41

Jensen, Joli. "Technology/music: Understanding processual relations." Popular Music and Society 14, no. 1 (1990): 7–12. http://dx.doi.org/10.1080/03007769008591378.

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42

Holmes, Neville. "Music, Sociality, and Digital Technology." Computer 42, no. 9 (2009): 104–3. http://dx.doi.org/10.1109/mc.2009.295.

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43

Herbst, Theo. "Music Technology at Stellenbosch University." Leonardo Music Journal 16 (December 2006): 65. http://dx.doi.org/10.1162/lmj.2006.16.65a.

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44

Pandey, Alok. "The evolution of music technology." XRDS: Crossroads, The ACM Magazine for Students 24, no. 3 (2018): 13. http://dx.doi.org/10.1145/3186705.

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45

Whiteley, Sheila. "Popular Music and Technology Conference." Popular Music 17, no. 3 (1998): 327–28. http://dx.doi.org/10.1017/s0261143000008588.

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46

Hunt, Andy, and Ross Kirk. "Technology and music: incompatible subjects?" British Journal of Music Education 14, no. 02 (1997): 151. http://dx.doi.org/10.1017/s0265051700003600.

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Botstein, Leon. "Music, Technology, and the Public." Musical Quarterly 78, no. 2 (1994): 177–88. http://dx.doi.org/10.1093/mq/78.2.177.

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Webster, Peter R. "Young Children and Music Technology." Research Studies in Music Education 11, no. 1 (1998): 61–76. http://dx.doi.org/10.1177/1321103x9801100107.

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Spiegelberg, Scott. "Coda Music Technology Finale 2000." Computer Music Journal 24, no. 4 (2000): 81–83. http://dx.doi.org/10.1162/comj.2000.24.4.81.

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Thompson, Douglas Earl. "Music Technology and Musical Creativity." General Music Today 25, no. 3 (2012): 54–57. http://dx.doi.org/10.1177/1048371311434639.

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