DOCSLIB.ORG

The Presence of Groove in Online Songwriting Projects

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Presence of Groove in Online Songwriting Projects Syracuse University SURFACE Dissertations - ALL SURFACE May 2017 The Presence of Groove in Online Songwriting Projects David Lamar James Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation James, David Lamar, "The Presence of Groove in Online Songwriting Projects" (2017). Dissertations - ALL. 735. https://surface.syr.edu/etd/735 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract Collaboration for groups with members who are disconnected by geography or time is convenient for many reasons, but remains a challenge due to time zone differences, network congestion, and the attenuation of nonverbal communication cues. Virtual collaborators engaging in creative work often deal with these challenges, even more so when tasked with expressing their emotions to distant partners. This study seeks to determine the social factors and tools that impact the quality of an online creative collaboration. Members of the Kompoz.com music composition community were surveyed to solicit projects that had the potential to be optimal collaborations. Judges listened to these songs and measured how much each song prompted them to move. This measure, called groove, was used as an indication of a successful collaboration. Judges assisted in selecting one case that was an exemplar of groove, and another that urged them to move much less, to stand as an exemplar of diminished groove. The comparative case method was used to compare and contrast the tools, social practices, and skills employed in each project, and offers guidelines for the design of and participation in online creative communities. THE PRESENCE OF GROOVE IN ONLINE SONGWRITING PROJECTS by David James B.S. Rensselaer Polytechnic Institute 2006 M.S. Syracuse University 2009 Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Information Science and Technology Syracuse University May 2017 Copyright © David L. James 2017 All Rights Reserved Acknowledgements This document was submitted in pursuit of a degree that I did not earn with my own strength. The sacrifices of my family members and the support of my friends provided the wherewithal to persevere through this process. I’m thankful to God for the strength to reach this point, because he acted through all of you. I thank my endlessly supportive wife for all the late nights she endured to give me the space to finish. To my mother, stepfather, and brother for driving and flying from Texas to watch my children while I worked on this document. To my mother-in- law and aunts for trips from New York and Atlanta to care for my family while I pushed to complete this document, and traveled back and forth to Syracuse. To my advisor and committee for being a constant source of encouragement and constructive feedback, while I developed as a writer and a scholar. To my brothers and sisters in the Ph.D. program, the meals, beverages, and conversations I had with you kept me going, when my belief in doing so waned. This degree isn’t just for me here in Maryland, but for all those whose sturdy shoulders I leaned upon to complete this journey. To my Aunt Ruby for reminding me that the ancestors are watching, and that I CAN do this. This degree is for Brooklyn, Mount Vernon, Texas, and Atlanta, because all of us have earned it together. iv Table of Contents Acknowledgements........................................................................................................................... iv Chapter 1: Introduction ......................................................................................................................1 Contributions ............................................................................................................................................. 1 Background/Motivation ............................................................................................................................ 2 Definition of Phenomenon ........................................................................................................................ 4 Why is Distributed Collaborative Composition Important to Study? ................................................... 6 Distributed Collaborative Composition is Virtual Collaborative Work ............................................................. 6 Distributed Collaborative Composition is a Creative Task ................................................................................ 7 Distributed Collaborative Composition is Flow Inducing .................................................................................. 9 Best Practices in Online Creative Collaboration Research Studies ..................................................... 10 Research Problem ................................................................................................................................... 14 Chapter 2: Literature and Theoretical Perspectives ........................................................................... 17 Current Studies of Online Music Composition Systems – Virtual Music Making .................................... 17 The Bridge Approach (Simulated FTF Interaction) .............................................................................. 17 Construction Kit Approach (Asynchronous Collaboration) ................................................................. 19 Differences between Face-to-Face and Distributed Music Collaboration .......................................... 21 Representations of Music in Computer Music Systems ..................................................................... 24 MIDI as a Music Representation in Computer Music Systems ....................................................................... 30 Music (and Representation)-Making Processes for Expert and Novice Musicians ........................................ 32 Summary of Literature Discussion .......................................................................................................... 35 Theoretical Perspective: Group Flow versus Other Popular Theories Used in Virtual Work Studies ...... 36 Group Flow Description ...................................................................................................................... 37 The Group Flow Experience ................................................................................................................ 38 Extrinsic Collective Goal ...................................................................................................................... 40 Pre-Existing Structures ........................................................................................................................ 41 Distributed Task, Time, and Place ....................................................................................................... 44 Groove as a Proxy for Group Flow ...................................................................................................... 45 Advantages of using Group Flow and Groove over Other Approaches .............................................. 48 Chapter 3: Research Design/Methodology ........................................................................................ 50 Criteria for Choosing a Research Method ............................................................................................... 50 Case Study ............................................................................................................................................... 52 What is a Case Study? ......................................................................................................................... 52 Limitations of the Case Study Approach ................................................................................................. 53 Multiple Case Research Design ........................................................................................................... 54 Site and Participant Description .............................................................................................................. 55 Contributing to a Kompoz Project ........................................................................................................... 55 Data Collection ........................................................................................................................................ 62 Descriptions of Group Flow in Initial Survey ....................................................................................... 63 Data Collection Details and Sources ................................................................................................... 65 v Positionality......................................................................................................................................... 66 Why Funk? .......................................................................................................................................... 66 Role of the Researcher and Impact on Projects .................................................................................. 68 Recruitment of Judges ............................................................................................................................. 69 Description of Analysis ...........................................................................................................................
Load more

Recommended publications
  • Audio Plug-Ins Guide Version 9.0 Legal Notices This Guide Is Copyrighted ©2010 by Avid Technology, Inc., (Hereafter “Avid”), with All Rights Reserved
    Audio Plug-Ins Guide Version 9.0 Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid. 003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, Bruno, C|24, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Eleven, EUCON, HD Core, HD Process, Hybrid, Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi, Velvet, X-Form, and XMON are trademarks or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office. All other trademarks are the property of their respective owners.
    [Show full text]
  • “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 ..................................................................................................................
    [Show full text]
  • Owners Manual
    True to the Music KL-8 Keyboard Mixing Station OWNER’S MANUAL Radial Engineering Ltd. 1588 Kebet Way, Port Coquitlam BC V3C 5M5 tel: 604-942-1001 • fax: 604-942-1010 email: [email protected] • web: www.radialeng.com www.radialeng.com www.radialeng.com Specifications and appearance are subject to change without notice. Copyright © 2019 Radial Engineering Ltd. Radial KL-8 Owner’s Manual Keyboard Mixing Station Table of Contents Overview..................................................................................................2 Features ..................................................................................................3-4 Getting Started ........................................................................................5 Headphones and Cue Switches ..............................................................6 Stereo Insert for Volume Pedals & Effects ..............................................6 Auxiliary Send and Receive.....................................................................7 Aux Return Assign Switch .......................................................................7 Digital Connections..................................................................................8 Switching Between Redundant USB Devices .........................................8 Recording Mode vs. Live Mode ...............................................................9 MIDI In and Out .......................................................................................10 Linking Multiple KL-8 units.......................................................................11
    [Show full text]
  • Virtual Choir for the Rest of Us Handout
    VIRTUAL CHOIR for THE REST OF US Carol Spradling Music Director, First Congregational Church of Essex Junction, VT 1 OVERVIEW: TOPICS Software - - DAW (director) EQUIPMENT - BandLab (director; choir) What you (director) will need MIDI vs audio What they (choir/musicians) will need BandLab app/interface (mobile & desktop) Hardware Components: - Keyboard(s) Mastering and troubleshooting: sync, intonation, - microphone(s) dynamics - Audio interface - Cables: MIDI, XLR, TRS - Desktop, mobile device 2 WORKFLOW VISUAL 1 Director lays down accompaniment tracks Direct into BandLab or into DAW mixed down into BL. 2 Get music to singers and rehearse over Zoom Write in your breathing plan, dynamics, other interp details, before sending PDF. (CameraScan) 3 Singers record their tracks Teach them how to record; give them a deadline Director adds mastering 4 (reverb, EQ) and mixes down MP3 sent to worship team for inclusion in worship webcast 3 ANATOMY OF A DIRECTOR TRACK ● ACCOMPANIMENT = leads the interpretation; precise ● VOCAL PARTS = I record every note of the vocals. This is omitted in final mix. ● Play it the way you want it! Precise cutoffs, rhythm, diction. Director lays down ● CLICK TRACK = to keep the rhythm precise and accompaniment tracks clean. Don’t rely on BL’s metronome, because it 1 Direct into BandLab or into DAW mixed down into BL. can be changed inadvertently by group members (or turned off). To be reliable and accurate, this is created as a MIDI file using a percussion voice. 4 ANATOMY OF A ZOOM REHEARSAL Audio setting: Enable original sound ● EVERYONE IS MUTED once singing starts (not yet possible to “sing together” on Zoom) ● PLAY TRACK THROUGH ZOOM.
    [Show full text]
  • Roland TD-27 Reference Manual
    Reference Manual © 2020 Roland Corporation Contents Practicing in Coach Mode 24 Getting Ready Correctly Playing in Time with the Beat (TIME 5 CHECK) 24 Overview of the TD-27 6 Developing Internal Timing Sense (QUIET COUNT) 25 Drum Kits 6 WARM UPS 26 Memory 7 Recording 27 Panel Descriptions 8 Recording a Performance 27 Recording Your Performance Along with a Song 27 Connect Your Equipment 10 Recording on a Connected Computer 28 Rear Panel 10 Installing the USB Driver 28 Side Panel 11 Getting Ready 12 Editing a Drum Kit Mounting the TD-27 on the Stand 12 29 Turning the Power On/Off 12 Editing a Drum Kit 30 Turning the Power On 12 Editing with the Sound Modify Knobs 30 Turning the Power Off 12 Editing with the [KIT EDIT] Button 31 Making Hi-Hat Settings 13 Layering Instruments (SUB INSTRUMENT) 33 Settings for the VH-10 / VH-11 13 Comparing with or Reverting to the Unedited Drum Settings for the VH-13 13 Kit (SNAPSHOT) 34 Importing and Playing Audio Files (USER SAMPLE) 35 About Performance Techniques 14 Importing an Audio File 35 Snare / Toms 14 Assigning a User Sample to an Instrument and Hi-Hat 15 Playing It 36 Cymbals 15 Listing the User Samples (LIST) 36 Organizing User Samples 38 Performing Other Settings 39 16 Renaming the Drum Kit (KIT NAME) 39 Specifying the Tempo for Each Drum Kit (KIT Performing 17 TEMPO) 40 Selecting a Drum Kit 17 Making MIDI Transmit/Receive Settings for Each Using a Cross-Stick Technique 17 Pad (KIT MIDI) 40 Stopping All Currently Played Sounds (ALL SOUND Muting the Sound of a Specific Pad When You OFF) 17 Strike
    [Show full text]
  • Octatrack MKII User Manual FCC Compliance Statement This Device Complies with Part 15 of the FCC Rules
    Octatrack MKII User Manual FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encour- aged to try to correct the interference by one or more of the following measures: • Reorient or relocate the receiving antenna. • Increase the separation between the equipment and receiver. • Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. • Consult the dealer or an experienced radio/TV technician for help. WARNING: Cancer and Reproductive Harm – www.P65Warnings.ca.gov AVERTISSEMENT: Cancer et effet nocif sur la reproduction – www.P65Warnings.ca.gov ADVERTENCIA: Cáncer y Daño Reproductivo – www.P65Warnings.ca.gov Canada This Class B digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe B est conforme à la norme NMB-003.
    [Show full text]
  • Synchronizing Sequencing Software to a Live Drummer
    Andrew Robertson and Mark D. Plumbley Synchronizing Sequencing School of Electronic Engineering and Computer Science Queen Mary University of London Software to a Live Drummer Mile End Road London E1 4NS, UK {andrew.robertson, mark.plumbley} @eecs.qmul.ac.uk Abstract: This article presents a method of adjusting the tempo of a music software sequencer so that it remains synchronized with a drummer’s musical pulse. This allows music sequencer technology to be integrated into a band scenario without the compromise of using click tracks or triggering loops with a fixed tempo. Our design implements real-time mechanisms for both underlying tempo and phase adjustment using adaptable parameters that control its behavior. The aim is to create a system that responds to timing variations in the drummer’s playing but is also stable during passages of syncopation and fills. We present an evaluation of the system using a stochastic drum machine that incorporates a level of noise in the underlying tempo and phase of the beat. We measure synchronization error between the output of the system and the underlying pulse of the drum machine and contrast this with other real-time beat trackers. The software, B-Keeper, has been released as a Max for Live device, available online at www.b-keeper.org. Introduction and Motivation MIDI messages. Commercial sequencers include Ableton Live, Pro Tools, Logic Studio, Nuendo, and One challenge currently faced by rock and pop bands others. These programs provide an optional click is how to incorporate electronic and pre-recorded track when recording, thereby providing audible musical parts when playing live.
    [Show full text]
  • Bytes and Backbeats: Repurposing Music in the Digital
    ͭ Bytes and Backbeats ͭ Bytes and Backbeats Repurposing Music in the Digital Age steve savage the university of michigan press / ann arbor Copyright © by the University of Michigan 2011 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2014 2013 2012 2011 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Savage, Steve, 1948– Bytes and backbeats : repurposing music in the digital age / Steve Savage. p. cm. — (Tracking pop) Includes bibliographical references and index. ISBN 978-0-472-11785-7 (cloth : alk. paper) — ISBN 978-0-472-02773-6 (e-book) 1. Popular music—Production and direction. 2. Sound recordings— Production and direction. I. Title. ML3470.S32 2011 781.6409'051—dc22 2011007217 for tamara Together we explored the world while I explored this world. Preface Several of the gracious readers of this book in its various drafts suggested that I should include some biographical information to help orient the reader to this work. I suppose all authors have a story about what brought them to their book, but perhaps in this case it is particularly relevant. My story begins with a career as a drummer during which time I played in nu- merous unsuccessful rock bands, learned some jazz without ever coming close to mastering it, studied and performed African music with a master drummer from Ghana, and spent a couple of years actually making a liv- ing as a musician playing in a dance band.
    [Show full text]
  • Analog Four MKII Digital Mind, Analog Soul
    Analog Four MKII Digital mind, analog soul Quick Guide Analog Four MKII THANK YOU Thank you for choosing the Analog Four MKII. It is a digitally controlled analog synthesizer featuring, among many things, the renowned Elektron step sequencer. The innovative combination of modern technology and tried and trusted ways of sound generation will let you experience the analog realm to its fullest. Analog Four MKII is the new benchmark for analog tabletop synthesizers. Tweaked circuitry delivering deeper bass than ever, new powerful sound control possibilities, dedicated outputs for each voice. Not to mention the ultra durable buttons, the big OLED screen and the premium design. No stone has been left unturned. The Analog Four MKII represents the best of two worlds. Inimitable analog impact combined with razor-sharp digital accuracy. This is an analog synthesizer for the creative artist. This Quick Guide will guide you through the basic functions of this product. For more detailed information, please see the Analog Four MKII User Manual that you can download from www.elektron.se. We wish you a happy and creative experience. Have fun! - The Elektron Team 3 FCC compliance statement This device complies with part 15 of the FCC rules. Operation is subject to the follow- ing two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are de- signed to provide reasonable protection against harmful interference in a residential installation.
    [Show full text]
  • Force User Guide
    User Guide English Manual Version 1.0 Table of Contents Introduction ............................................................. 6 Tutorial ................................................................... 14 Support .............................................................. 6 Starting Up ...................................................... 14 About This User Guide ..................................... 6 Launching Clips .............................................. 14 Important Notes ............................................... 6 Editing Clips & Tracks .................................... 17 Clip Edit Mode ........................................... 18 Setup ........................................................................ 7 Region View ................................................... 20 Event View ...................................................... 22 List View ......................................................... 23 Features ................................................................... 8 Track Edit Mode ........................................ 24 Top Panel .......................................................... 8 Renaming & Saving ........................................ 27 Display ....................................................... 11 Using the Browser ..................................... 29 Rear Panel ....................................................... 12 Mixing Tracks ................................................. 30 Front Panel .....................................................
    [Show full text]
  • Brian Eno Gillian Welch & Dave Rawlings Valgeir Sigurðsson New
    The Creative Music Recording Magazine Brian Eno U2, Coldplay, Talking Heads Gillian Welch & Dave Rawlings producing themselves Valgeir Sigurðsson w/ Björk, Nico Muhly, Iceland New Takes on Hip-Hop Blakroc & Joel Hamilton Black Keys, RZA, Jim Jones Noah Rubin w/ Wu-Tang Chamber Music Phil Moore In Behind the Gear w/ Retro Music Reviews w/ Buddha Machine Gear Reviews Issue No. 85 Sept/Nov 2011 Hello and welcome to # ! Tape Op85 As I was nearing the end of one of the bigger album projects I’ve done this year, I had this thought: “What is my job?” Now first off, don’t get on my case about professional engineer/producer versus “part-time” recording folks. That doesn’t matter. In the end it’s all about the music that gets captured and presented. Anyone can be part of the album making process regardless of experience, skill or fame. What I mean by “job” is the role a person takes on when they offer to help record someone else’s music. What is our responsibility to the artist and the music? Maybe our job is to protect the art. To shield the artist from outside worries that could derail better performances. To be the cheerleader when someone isn’t sure of his or her work. To stop someone when they are nitpicking music that has already reached its peak. To hide technology from the artist in order to keep the flow of a session moving forward. Many times I’ve had a client ask me questions like, “So, do we have to lay down drums first to a click and then overdub everything?” or, “Do you always double track the vocals?” Sometimes they are the scarred survivors of some studio nitwit that imposed inappropriate or odd recording choices on their music.
    [Show full text]
  • User Guide: MPC Software
    User Guide English Manual Version 2.8 Table of Contents Introduction ............................................................ 7 Tutorial ................................................................... 13 MPC vs. MPC Beats .......................................... 7 Creating a Drum Kit ......................................... 13 System Requirements & Product Support ...... 7 Creating a Drum Sequence ............................. 14 About This User Guide ...................................... 8 Renaming & Saving .......................................... 15 Important Notes ................................................. 8 Editing Note Events .......................................... 17 Setup ................................................................... 9 Making Basic Sound Edits ............................... 19 1. Connection .................................................. 9 Creating a Bass Track ..................................... 20 2. Installation ................................................... 9 Recording an Audio Track ............................... 23 3. Getting Started .......................................... 10 Creating a Song ................................................ 24 MPC Software.................................................... 10 MPC Beats Software .......................................... 11 Exporting the Song ........................................... 25 Basic Concepts .................................................... 12 Other Features Explained ...............................
    [Show full text]