Approaches in Intelligent Music Production
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Learning to Build Natural Audio Production Interfaces
arts Article Learning to Build Natural Audio Production Interfaces Bryan Pardo 1,*, Mark Cartwright 2 , Prem Seetharaman 1 and Bongjun Kim 1 1 Department of Computer Science, McCormick School of Engineering, Northwestern University, Evanston, IL 60208, USA 2 Department of Music and Performing Arts Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY 10003, USA * Correspondence: [email protected] Received: 11 July 2019; Accepted: 20 August 2019; Published: 29 August 2019 Abstract: Improving audio production tools provides a great opportunity for meaningful enhancement of creative activities due to the disconnect between existing tools and the conceptual frameworks within which many people work. In our work, we focus on bridging the gap between the intentions of both amateur and professional musicians and the audio manipulation tools available through software. Rather than force nonintuitive interactions, or remove control altogether, we reframe the controls to work within the interaction paradigms identified by research done on how audio engineers and musicians communicate auditory concepts to each other: evaluative feedback, natural language, vocal imitation, and exploration. In this article, we provide an overview of our research on building audio production tools, such as mixers and equalizers, to support these kinds of interactions. We describe the learning algorithms, design approaches, and software that support these interaction paradigms in the context of music and audio production. We also discuss the strengths and weaknesses of the interaction approach we describe in comparison with existing control paradigms. Keywords: music; audio; creativity support; machine learning; human computer interaction 1. Introduction In recent years, the roles of producer, engineer, composer, and performer have merged for many forms of music (Moorefield 2010). -
John Marks Exits Spotify SIGN up HERE (FREE!)
April 2, 2021 The MusicRow Weekly Friday, April 2, 2021 John Marks Exits Spotify SIGN UP HERE (FREE!) If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES John Marks Exits Spotify Scotty McCreery Signs With UMPG Nashville Brian Kelley Partners With Warner Music Nashville For Solo Music River House Artists/Sony Music Nashville Sign Georgia Webster Sony Music Publishing Renews With Tom Douglas John Marks has left his position as Global Director of Country Music at Spotify, effective March 31, 2021. Date Set For 64th Annual Grammy Awards Marks joined Spotify in 2015, as one of only two Nashville Spotify employees covering the country market. While at the company, Marks was instrumental in growing the music streaming platform’s Hot Country Styles Haury Signs With brand, championing new artists, and establishing Spotify’s footprint in Warner Chappell Music Nashville. He was an integral figure in building Spotify’s reputation as a Nashville global symbol for music consumption and discovery and a driver of country music culture; culminating 6 million followers and 5 billion Round Hill Inks Agreement streams as of 4th Quarter 2020. With Zach Crowell, Establishes Joint Venture Marks spent most of his career in programming and operations in With Tape Room terrestrial radio. He moved to Nashville in 2010 to work at SiriusXM, where he became Head of Country Music Programming. During his 5- Carrie Underwood Deepens year tenure at SiriusXM, he brought The Highway to prominence, helping Her Musical Legacy With ‘My to bring artists like Florida Georgia Line, Old Dominion, Kelsea Ballerini, Chase Rice, and Russell Dickerson to a national audience. -
Physics in Concert Teacher Notes and Student Worksheets
Physics in Concert Teacher notes and student worksheets lighting sound electricity Download PowerPoint presentation at www.iop.org/concert © Contents Page Introduction 1 Teacher notes: 4 Part 1. Physics in context 4 Part 2: Practice your skills 14 Part 3: Planning a concert 16 Student worksheets 20 Worksheet 1 21 Worksheets 2 (A-C) 22 Worksheets 3 (A-C) 28 Worksheets 4 (A-D) 35 Worksheet 5 43 Solutions and mark schemes 47 Acknowledgements This activity was developed by the Institute of Physics (IOP) as part of the STEM (science, technology, engineering and maths) Subject Choice and Careers Project (within the STEM Action Programme) funded by the Department for Education. This activity was written by Taj Bhutta of the IOP and is based on the Ashfield Music Festival activity originally developed by the IOP and CRAC (the Career Development Organisation). Illustrations and design are by Tim Oliver, Phil Treble and Lesley Lee. Futuremorph characters used with permission from The Science Council Further information: For further information about the STEM Careers Project visit the STEM careers collection at National STEM Centre http:// stem.org.uk/cx8h For further information about STEM Subject Choice and Careers please contact [email protected] T: 0114 225 4870 Centre for Science Education, Sheffield Hallam University, City Campus, Howard Street, Sheffield S1 1WB. For further information about the Institute of Physics (IOP) please contact Tel: +44 (0)20 7470 4800 E-mail: [email protected] or visit www.iop.org/education Education Department, the Institute of Physics, 76 Portland Place, London W1B 1NT Incorporated by Royal Charter Registered charity number 293851 Introduction Background Developed to encourage more students, particularly girls, to consider careers related to physics, this activity is based on the successful Key-Stage 4 activity: Ashfield Music Festival [1]. -
Downingtown STEM Academy Program of Study 20-21.1.10.20.Pdf
Program of Study An International Baccalaureate World School 2020-2021 Mission Statement The International Baccalaureate aims to develop inquiring, knowledgeable and caring young people who help to create a better and more peaceful world through intercultural understanding and respect. To this end the organization works with schools, governments and international organizations to develop challenging programmes of international education and rigorous assessment. These programmes encourage students across the world to become active, compassionate and lifelong learners who understand that other people, with their differences, can also be right. In addition to fulfilling the International Baccalaureate mission statement the Downingtown STEM Academy aims to create inquiry learning and growth through the International Baccalaureate and STEM Pathways where innovative thinking with effort dictates success in an ever-changing world. STEM Academy Program of Study 2020-2021 1 STEM Academy Program of Study 2020-2021 2 STEM Academy Program of Study 2020-2021 3 What’s New in the Program of Study 2020-2021 Changes to IB Mathematics This will be the first academic year of new IB Mathematics courses for 12th grade. Please see the descriptions provided in the mathematics section of this document for descriptions of Year 2 courses. The class of 2020 is the last cohort to learn under the old curriculum. Changes to Pre-Diploma Modern Language As of this academic year, students in 9th and 10th grade will be scheduled for modern language (French, German, Spanish) based on their grade level. Students will no longer be scheduled for modern language courses in 9th and 10th grade based on level (II,III,IV). -
DMA Recording Project Guidelines (Fall 2011) Page 1 of 2
DMA – TMUS 8329 Major Project (4–6 cr.)* Guidelines for Recording Project In addition to the normal requirements of a recital, it is expected that the student will become involved in all aspects of the recording, in effect acting as producer from start to finish. Before undertaking the Recording Project: the student must submit a prospectus that is reviewed and approved by the faculty advisory committee and the Associate Dean of Graduate Studies. A copy of the prospectus must be kept in the student’s file. For a recording to fulfill the requirement, it must adhere to the following criteria. 1. Be comparable in length to a recital. 2. The student is responsible for coordinating all matters pertaining to the recording including: contracting of musicians, studio manager and recording engineer; CD printing or duplication, graphic art design layout, and recording label (optional). 3. The recording must be unique in some way that sets it apart from other recordings. Examples can include but are not limited to recordings that feature: original compositions and/or arrangements, collections of works that are less known and/or have not been readily available in recordings, and so on. This aspect of the project should reflect the student’s creativity and research skills. 4. The submitted recording must be of professional quality. 5. Post-recording work is an essential aspect of the project. The student must oversee the editing, mixing, and (optionally) the mastering of the recording. Refer to the definitions of these processes at the bottom of this document. a. Editing (if necessary) b. Mixing c. -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
Movie Music STEM Learning Activity Resources
STEM ON SCREEN: SUITABLE FOR AGE 11-14 Movie music STEM Learning activity resources SUBJECT LINKS: DT, computing, engineering, physics and mathematics. STEM ON SCREEN: SUITABLE FOR AGE 11-14 Movie music STEM Learning activity resources Introduction Key information This programme of activity is provided by STEM Learning, the largest provider AGE RANGE: 11-14. of STEM education and careers support SUBJECT LINKS: DT, Computing, Engineering, Physics, Maths. in the UK. It has been developed in partnership with Club leaders. DURATION: A range of activities from 20 to 60 minutes – 6 hours in total. This programme is part of STEM on FLEXIBILITY: Complete the whole programme over a half term or choose Screen, a set of three programmes individual activities to suit the needs of your club. exploring science, technology, engineering and maths in the movies. RESOURCES: Each activity includes a list of the resources required and a comprehensive set of club leader and student notes. Movie music IMPACT MEASUREMENT: Each set of resources is designed to help evaluate and assess the progress of club based learning on club members. A useful set of Movies are amazing: a good movie can assessment tools are available at www.stem.org.uk/stem-clubs make you laugh, cry or jump in surprise. But how do they do it? The music you ACHIEVEMENT: students that successfully complete a complete set of activities are listening to plays a big part. can be rewarded with the downloadable STEM Clubs Certificate of Achievement. Successfully completing a set of themed activities enables students to enter for a CREST This programme investigates the Discovery Award. -
Music Game to Teach STEM Concept
1 Music Game to Teach STEM Concept An Interactive Qualifying Project submitted to the faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted by: Jingwei Shen Jinwei Zhang Ming Xu Yunze Zhu Advisor Prof. Vincent J. Manzo Co-Advisor Prof. Michael T. Timko 2 Abstract There are many important STEM concepts introduced during elementary education. However, traditional approaches to this instruction are not always understood and embraced by students. For some students, STEM topics are too abstract to understand and too dull to maintain their interest. Prior studies show that using video games as a medium to engage students’ interest could improve the efficiency of study. While students are enjoying the game, they can learn STEM concepts in an informal way. Other studies show one aspect of improving study efficiency, which is to add creative elements, such as music, into the experience. In this study, our IQP team developed a software-based music game for pre-teens to help teach STEM concepts informally based on a review of the current literature on informal learning, educational games, and STEM education. The prototype contains a water-flowing system by which students control water-flow in and out for various cylindrical containers; the water-flow produces musical pitches in a sequence, and the containers produce a harmonic rhythm to provide the user with aural feedback on their successful attempts to control water-flow. After the prototype was completed, we introduced it to two focus groups of undergraduate students (N=16), and collected feedback about the game. -
STEM Choices a Resource Pack for Careers Education and Information, Advice and Guidance Practitioners
STEM Choices A Resource Pack for Careers Education and Information, Advice and Guidance Practitioners Science Technology neering Engi Maths Acknowledgements This resource arises from the STEM Choice and Careers project undertaken by the Centre for Science Education at Sheffield Hallam University and VT Enterprise, on behalf of the Department for Children, Schools and Families (DCSF). The project team (Anthony Barnes, Jill Collins, Ken Mannion, Alan Moore, Pat Morton, Claire Nix and Mark Windale) would like to thank the many stakeholders and partners who have offered suggestions and resources to support its development. These include:- Nicola Hannam - The Science Council Mike Hill – Independent Consultant Robin Mellors-Bourne – CRAC Anu Ojha – The National Space Centre Peter Stagg – Centre for Education and Industry, Warwick Catherine Teague - The Engineering and Technology Board We welcome further feedback to inform the updates and supplements to this pack. Please email us on [email protected] A Department for Children, Schools and Families initiative to promote subject choice and careers in Science, Technology, Engineering and Maths (STEM) delivered by the Centre for Science Education at Sheffield Hallam University and VT Enterprise Crown Copyright 2009 Extracts from this document may be reproduced for non-commercial research, education or training purposes on the condition that the source is acknowledged. For any other use please contact [email protected] © Crown Copyright 2009 CONTENTS 1. Introduction 1 The importance of STEM and the contribution of careers education and IAG 2. CEIAG Professionals’ Guide 2 • Current and Future Trends • The International Perspective 3. Learning Routes and Pathways 3 Keeping future options open by choosing a STEM learning route 4. -
Delivery Recommendations for Recorded Music Projects
DELIVERY RECOMMENDATIONS FOR RECORDED MUSIC PROJECTS Delivery Recommendations For Recorded Music Projects • 2018/09/13 • Page 1 of 28 FOREWORD This document specifies the physical deliverables that are the culmination of the creative process, with the understanding that it is in the interest of all parties involved to make them accessible for both the short- and long-term. Thus, the document recommends reliable data management, backup, delivery and archiving methodologies for current audio technologies, which should ensure that music will be completely and reliably recoverable and protected from damage, obsolescence and loss. The Producers & Engineers Wing® Delivery Specifications Committee, comprising producers, engineers, record company executives, and others, in conjunction with the AES Technical Committee on Studio Practices and Production and the AES Nashville Section, developed the original Delivery Recommendations in 2002. The committee met regularly at the Recording AcademyTM Nashville Chapter offices to debate the issues surrounding the short- and long-term viability of the creative tools used in the recording process, and to design a specification in the interest of all parties involved in the process. Updated versions were published in 2004, 2005, 2008, and 2013. This current revision was completed in September 2018. The Committee will continue to periodically review these Recommendations, along with future iterations of recording and storage techniques, hardware and formats to ensure its continuing relevance within commonly -
Thesis Table of Contents
A new sound mixing framework for enhanced emotive sound design within contemporary moving-picture audio production and post-production. Volume 1 of 3 Neil Martin Georges Hillman PhD University of York Theatre, Film and Television September 2017 2 Abstract This study comprises of an investigation into the relationship between the creative process of mixing moving-picture soundtracks and the emotions elicited by the final film. As research shows that listeners are able to infer a speaker’s emotion from auditory cues, independently from the meaning of the words uttered, it is possible that moving-picture soundtracks may be designed in such a way as to intentionally influence the emotional state and attitude of its listening-viewers, independently from the story and visuals of the film. This study sets out to determine whether certain aspects of audience emotions can be enhanced through specific ways of mix-balancing the soundtrack of a moving-picture production, primarily to intensify the viewing experience. Central to this thesis is the proposal that within a film soundtrack there are four distinct ‘sound areas’, described as the Narrative, Abstract, Temporal and Spatial; and these form a useful framework for both the consideration and the creation of emotional sound design. This research work evaluates to what extent the exploration of the Narrative, Abstract, Temporal and Spatial sound areas offers a new and useful framework for academics to better understand, and more easily communicate, emotive sound design theory and analysis; whilst providing practitioners with a framework to explore a new sound design approach within the bounds of contemporary workflow and methodology, to encourage an enhanced emotional engagement by the audience to the soundtrack. -
Understanding Audio Production Practices of People with Vision Impairments
Understanding Audio Production Practices of People with Vision Impairments Abir Saha Anne Marie Piper Northwestern University University of California, Irvine Evanston, IL, USA Irvine, CA, USA [email protected] [email protected] ABSTRACT of audio content creation, including music, podcasts, audio drama, The advent of digital audio workstations and other digital audio radio shows, sound art and so on. In modern times, audio content tools has brought a critical shift in the audio industry by empower- creation has increasingly become computer-supported – digital in- ing amateur and professional audio content creators with the nec- struments are used to replicate sounds of physical instruments (e.g., essary means to produce high quality audio content. Yet, we know guitars, drums, etc.) with high-fdelity. Likewise, editing, mixing, little about the accessibility of widely used audio production tools and mastering tasks are also mediated through the use of digital for people with vision impairments. Through interviews with 18 audio workstations (DAWs) and efects plugins (e.g., compression, audio professionals and hobbyists with vision impairments, we fnd equalization, and reverb). This computer-aided work practice is that accessible audio production involves: piecing together accessi- supported by a number of commercially developed DAWs, such 1 2 3 ble and efcient workfows through a combination of mainstream as Pro Tools , Logic Pro and REAPER . In addition to these com- and custom tools; achieving professional competency through a mercial eforts, academic researchers have also invested signifcant steep learning curve in which domain knowledge and accessibility attention towards developing new digital tools to support audio are inseparable; and facilitating learning and creating access by production tasks (e.g., automated editing and mixing) [29, 57, 61].