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Wavelet Ridges for Musical Instrument Classification
J Intell Inf Syst (2012) 38:241–256 DOI 10.1007/s10844-011-0152-9 Wavelet ridges for musical instrument classification M. Erdal Özbek · Nalan Özkurt · F. Acar Savacı Received: 13 September 2010 / Revised: 25 January 2011 / Accepted: 25 January 2011 / Published online: 8 February 2011 © Springer Science+Business Media, LLC 2011 Abstract The time-varying frequency structure of musical signals have been an- alyzed using wavelets by either extracting the instantaneous frequency of signals or building features from the energies of sub-band coefficients. We propose to benefit from a combination of these two approaches and use the time-frequency domain energy localization curves, called as wavelet ridges, in order to build features for classification of musical instrument sounds. We evaluated the representative capability of our feature in different musical instrument classification problems using support vector machine classifiers. The comparison with the features based on parameterizing the wavelet sub-band energies confirmed the effectiveness of the proposed feature. Keywords Wavelet ridge · Musical instrument classification · Support vector machine 1 Introduction The classification of musical instruments is one of the main issues in the automatic transcription of music. There have been many features offered to represent musical signals which also targeted to reveal the differences of musical instrument sounds M. Erdal Özbek (B) · F. Acar Savacı Dept. of Electrical and Electronics Engineering, Izmir˙ Institute of Technology, Urla, 35430, Izmir,˙ Turkey e-mail: [email protected] N. Özkurt Dept. of Electrical and Electronics Engineering, Dokuz Eylül University, Buca, 35160, Izmir,˙ Turkey 242 J Intell Inf Syst (2012) 38:241–256 (Herrera-Boyer et al. -
Hirsh-Pasek Vita 2-21
Date: February, 2021 Kathryn A. Hirsh-Pasek, Ph.D. The Debra and Stanley Lefkowitz Distinguished Faculty Fellow Senior Fellow Brookings Institution Academic Address Department of Psychology Temple University Philadelphia, PA 19122 (215) 204-5243 [email protected] twitter: KathyandRo1 Education University of Pennsylvania, Ph.D., 1981 (Human Development/Psycholinguistics) University of Pittsburgh, B.S., 1975 (Psychology/Music) Manchester College at Oxford University, Non-degree, 1973-74 (Psychology/Music) Honors and Awards Placemaking Winner, the Real Play City Challenge, Playful Learning Landscapes, November 2020 AERA Fellow, April 2020 SIMMS/Mann Whole Child Award, October 2019 Fellow of the Cognitive Science Society, December 2018 IDEO Award for Innovation in Early Childhood Education, June 2018 Outstanding Public Communication for Education Research Award, AERA, 2018 Living Now Book Awards, Bronze Medal for Becoming Brilliant, 2017 Society for Research in Child Development Distinguished Scientific Contributions to Child Development Award, 2017 President, International Congress on Infant Studies, 2016-2018 APS James McKeen Cattell Fellow Award - “a lifetime of outstanding contributions to applied psychological research” – 2015 Distinguished Scientific Lecturer 2015- Annual award given by the Science Directorate program of the American Psychological Association, for three research scientists to speak at regional psychological association meetings. President, International Congress on Infant Studies – 2014-2016 NCECDTL Research to Practice Consortium Member 2016-present Academy of Education, Arts and Sciences Bammy Award Top 5 Finalist “Best Education Professor,” 2013 Bronfenbrenner Award for Lifetime Contribution to Developmental Psychology in the service of science and society. August 2011 Featured in Chronicle of Higher Education (February 20, 2011): The Case for play. Featured in the New York Times (January 5, 2011) Effort to Restore Children’s Play Gains Momentum (article on play and the Ultimate Block Party; most emailed article of the day). -
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits MUC135, Section 33575 Scottsdale Community College, Department of Music Fall 2015 (September 1 to December 18, 2015) Tuesday Evenings 6:30 PM - 9:10 PM (Room MB-136) Instructor: Rob Wegner, B.S., M.A. ([email protected] or [email protected]); Cell: 480-695-6270 Office Hours: Monday’s 6:00 - 7:30PM (Room MB-139) Recommended Text: How to DJ Right: The Art and Science of Playing Records by Bill Brewster and Frank Broughton (Grove Press, 2003). ISBN: 0-8021- 3995-7 Groove Music: The Art and Culture of the Hip-Hop DJ by Mark Katz (Oxford University Press, 2012). ISBN-10: 0195331125 Recommended DVD: Scratch: A Film by Doug Prey by Doug Prey (Palm Pictures, 2001). Required Gear: Headphones (for labs) Additional Suggested Reading: Off the Record by Doug Shannon (1982), Pacesetter Publishing House. Last Night A DJ Saved My Life, The History of the Disc Jockey by Bill Brewster & Frank Broughton (2000), Grove Press. On The Record: The Scratch DJ Academy Guide by Phil White & Luke Crisell (2009), St. Martin’s Griffin. Looking for the Perfect Beat by Kurt B. Reighley (2000), Pocket Books. How to Be a DJ by Chuck Fresh (2001), Brevard Marketing. DJ Culture by Ulf Poschardt (1995), Quartet Books Limited. The Mobile DJ Handbook, 2nd Edition by Stacy Zemon (2003), Focal Press. Turntable Basics by Stephen Webber (2000), Berklee Press. Course Objectives Upon successful completion of this course, you should be able to: explain the historical innovations that led to the evolution of -
Vtech/Leapfrog Consumer Research
VTech/LeapFrog consumer research Summary report Prepared For: Competition & Markets Authority October 2016 James Hinde Research Director Rebecca Harris Senior Research Manager 3 Pavilion Lane, Strines, Stockport, Cheshire, SK6 7GH +44 (0)1663 767 857 Page 1 djsresearch.co.uk Contents Contents ..................................................................................................................... 2 Executive Summary ..................................................................................................... 3 Background & Methodology ........................................................................................... 5 Introduction ............................................................................................................. 5 Research Objectives .................................................................................................. 5 Sample .................................................................................................................... 6 Methodology ............................................................................................................. 7 Reporting ............................................................................................................... 10 Profile of participants .................................................................................................. 11 Purchase context, motivations and process ................................................................... 24 Diversion behaviour ................................................................................................... -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
The Jean Thomas Story—Part 3
The Jean Thomas Story—Part 3 Jean Thomas worked with many top producers during the 1960s but the one who cre- ated her best known work and who perhaps brought the best out of her vocal talent was Bob Crewe. Bob Crewe had a special talent himself and was a highly respected producer Jean’s good friend Ellie Greenwich had a good relation- ship with Bob Crewe and commented on his ability and on how they first met in an interview before her untimely passing in 2009….. "I'm not exactly sure when I met Bob Crewe, but we always saw each other around the business from the very beginning. (We) had an affinity for each other (and) still do! He was a joy to work with on all levels . he's a perfectionist, he's open to any outside ideas, he really knows what he wants and gets it, and most of all, he is passionate about what he does. He puts all of himself into eve- rything he touches . I always loved and still do love Bob! I can go on and on about this talented gentleman, and he is just that: A 'gentle man'." Mick Patrick and Malcolm Baumgart captured the best of Bob Crewe’s productions on “The DynoVoice Story….the label that had to happen” Westside CD226 and say of his unique- ness …..“Bob Crewe is not a man to be easily pigeon-holed. Possessed by an overriding creative urge from his earliest years, he has painted , worked as a photographic model, sculpted, acted,run an art gallery and dabbled in interior design alongside those talents for which he is justly renowned – ie singer, songwriter, producer, label owner, music publisher and manager.” The best of his productions of course include those of Jean Tho- mas. -
The Role of Play and Direct Instruction in Problem Solving in 3 to 5 Year Olds
THE ROLE OF PLAY AND DIRECT INSTRUCTION IN PROBLEM SOLVING IN 3 TO 5 YEAR OLDS Beverly Ann Keizer B. Ed. , University of British Columbia, 1971 1 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS (EDUCATION) in the Faculty of Education @Beverly Ann Keizer 1983 SIMON FRASER UNIVERSITY March 1983 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author APPROVAL Name : Beverly Ann Keizer Degree : Master of Arts (Education) Title of Thesis: The Role of Play and Direct Instruction in Problem Solving in 3 to 5 Year Olds Examining Committee Chairman : Jack Martin Roger Gehlbach Senior Supervisor Ronald W. Marx Associate Professor Mary Janice partridge Research Evaluator Management of Change Research Project Children's Hospital Vancouver, B. C. External Examiner Date approved March 14, 1983 PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University L ibrary, and to make part ial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
Stem/Steam Formula for Success
STEM/STEAM FORMULA FOR SUCCESS The Toy Association STEM/STEAM Formula for Succcess 1 INTRODUCTION In 2017, The Toy Association began to explore two areas of strong member interest: • What is STEM/STEAM and how does it relate to toys? • What makes a good STEM/STEAM toy? PHASE I of this effort tapped into STEM experts and focused on the meaning and messages surrounding STEM and STEAM. To research this segment, The Toy Association reached out to experts from scientific laboratories, research facilities, professional associations, and academic environments. Insights from these thought leaders, who were trailblazers in their respective field of science, technology, engineering, and/or math, inspired a report detailing the concepts of STEM and STEAM (which adds the “A” for art) and how they relate to toys and play. Toys are ideally suited to developing not only the specific skills of science, technology, engineering, and math, but also inspiring children to connect to their artistic and creative abilities. The report, entitled “Decoding STEM/STEAM” can be downloaded at www.toyassociation.org. In PHASE 2 of this effort, The Toy Association set out to define the key unifying characteristics of STEM/STEAM toys. Before diving into the characteristics of STEM/STEAM toys, we wanted to take the pulse of their primary purchaser—parents of young children. The “Parents’ Report Card,” is a look inside the hopes, fears, frustrations, and aspirations parents have surrounding STEM careers and STEM/STEAM toys. Lastly, we turned to those who have dedicated their careers to creating toys by tapping into the expertise of Toy Association members. -
Automation: from Consoles to Daws
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2016 Automation: From Consoles to DAWs Christian Ekeke California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Education Commons Recommended Citation Ekeke, Christian, "Automation: From Consoles to DAWs" (2016). Capstone Projects and Master's Theses. 41. https://digitalcommons.csumb.edu/caps_thes_all/41 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Christian Ekeke 12/19/16 Capstone 2 Dr. Lanier Sammons Automation: From Consoles to DAWs Since the beginning of modern music there has always been a need to implement movement into a mix. Whether it is bringing down dynamics for a classic fade out or a filter sweep slowly building into a chorus, dynamic activity in a song has always been pleasing to the average music listeners. The process that makes these mixing techniques possible is automation. Before I get into details about automation in regards to mixing I will explain common ways automation is used. Automation in a nutshell is the use of various techniques, method, and system of operating or controlling a process by highly automatic means generally through electronic devices. In music however, automation is simply the use of a combination of multiple control devices to alter parameters in real time while a mix is being played. -
1 Pulse Magazine
1 PULSE MAGAZINE: An exploration of Athens Ohio’s entertainment culture ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Journalism ______________________________________ by Bridget Nora Mallon May 2013 2 The American public seeks repose in the entertainment industry because it gives them the chance to escape their everyday lives, to indulge in something that does not require critical thinking and to take a step back from the sadness and defeat that dominate most sources of news. Countless people look for something light at the end 3 of the day, whether that be a rerun of their favorite TV show, a new album by their favorite band, or the latest release of their favorite magazine, instead of sitting down to watch the evening news, or read the daily newspaper. Magazines, in and of themselves are a form of entertainment, which makes them one of the most appealing sources of information for Americans who consume some form of journalism. Even if they are hard news based, magazines are perceived as more entertaining and enjoyable than other news sources. The average consumer sees reading magazines as a leisure activity, not solely as a way to find information. Unlike newspapers or TV news broadcasts, which people are likely to consume while engaging with other stimuli, magazine readers spend extended, uninterrupted, periods of time with their favorite publications. The average magazine reader spends 42 minutes with each issue, and is unlikely to engage with any other media during that time (MPA, 2011-12, p. -
Acid Pro a Guide for the Beginner, by Alex C for Boot Camp Clique
Acid Pro A Guide for the beginner, by Alex C for Boot Camp Clique 1 Where can I get Acid or Acid Pro? That’s an excellent question, and if you’ve not got Acid yet – one you should most definitely be asking! A quick Google search for “acid pro” will give you a few sites, and most importantly www.sonicfoundry.com which is the company who used to make Acid. Since they were taken over by Sony however, you’re not going to get far with that link. Where you should really go is to http://www.sonymediasoftware.com where you can click on ‘software’ and then ‘ACID’ - taking you to precisely the right place. Sony are now the company which manufacture and develop Acid, and at the time of writing this article they are on version 6. Acid Pro 6. Now, Sony will let you download a free trial, to get your fix, but you should really take the plunge and purchase this masterpiece. If you’re serious about music production – and in particular bootlegs and mash-ups, then it’s worth forking out the $374.96 that they’re charging on the site. Following that, you can relax in the knowledge that you own a monster package for making your tunes. 2 OK, it’s installed. What now? After all the downloading, purchasing and installing gubbins – which you should be able to work out yourself (after all this isn’t a lesson on downloading software or installing such stuff) we can move on to the intro. Acid is primarily a piece of ‘sequencing’ software.