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MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Perspectives for Music Education in Schools After COVID-19: the Potential of Digital Media
Min-Ad: Israel Studies in Musicology Online, Vol. 18, 2021 Benno Spieker, Morel Koren – Perspectives for Music Education in Schools after COVID-19: The Potential of Digital Media Perspectives for Music Education in Schools after COVID-19: The Potential of Digital Media BENNO SPIEKER, MOREL KOREN Abstract: Innovations in research fields related to computer music and the advancement of the music industry have also influenced the digital sector for music education. Although many kinds of educational, edutainment, and entertainment music software appeared before the pandemic and are still in use, with the COVID-19 crisis and restrictions, it seems that music education in the primary classes has not systematically and thoroughly benefited from the innovations and advances reported by science and the music industries. However, the current need to teach music online could have an effect on the use of digital media after the pandemic. We present examples from the Netherlands, Romania, and Israel that lead to observations and suggestions about the potential of digital media after COVID-19. Keywords: music education, online music learning, singing, solfege, music literacy, primary education, voice synthesis, artificial intelligence. Introduction More than sixty years after humankind successfully programmed a computer to generate sounds from a digital composition, and almost forty years after the invention of a standard for sharing musical information digitally – MIDI (Musical Instrument Digital Interface), and the invention of the Internet, it can be said that digital media brought significant changes in almost all fields of music. Writing, composing, performing, recording, storing, disseminating with or without video are encompassing producing and consuming computerized music and digital media. -
Paul Weller Makes Thing Is Rubbish
12 EVENT MUSIC On his latest album I think the whole stylish rock legend celebrity culture Paul Weller makes thing is rubbish. It a stand against sends out a really mediocrity, writes negative message Sally Browne tor’s items, they have since disap- peared into rock history. HE HAS written tracks that have ‘‘It’s gone to the ether along the inspired generations, been credited way. Probably a lot of it was lost or with kicking off the mod revival stolen, or was just thrown away movement, and scored countless hits because it was so shrunken you in his native UK with his bands The couldn’t wear it anyway.’’ Jam, The Style Council and as a Weller is friends with both of solo artist. Oasis’s Gallagher brothers, whose So how does one address someone split last year was allegedly exacer- of the stature of Paul Weller (pic- bated when older brother Noel poked tured), the ‘‘Modfather’’? Does he fun at Liam’s clothing label. need a special honorific? His ‘‘They are very different, what can Modness, perhaps? I say? Well, they’re both lovely, ‘‘No, sir is fine,’’ the 52-year-old they’re both my friends, so I have to says, good-naturedly from his be careful what I say, really. London flat ‘‘on a beautiful, beautiful ‘‘Liam has got his own very definite summer’s day’’. vision of the world, of how the world The artist who wrote tracks includ- works and his place in it. And I can’t ing Going Underground and Town say what that is because I couldn’t Called Malice was recently honoured even hazard a guess, but he has got it with a string of dates at the pres- anyway. -
Muschain, Un Juego Colaborativo Para Compositores
Escola Tècnica Superior d’Enginyeria Informàtica Universitat Politècnica de València Muschain, un juego colaborativo para compositores Trabajo Fin de Grado Grado en Ingeniería Informática Autor: Carlos Caballer Chacón Tutor: Vicente Pelechano Ferragud Curso 2019/2020 Muschain, un juego colaborativo para compositores 2 Resumen El objetivo de este TFG es el desarrollo de un juego para músicos y compositores, con su correspondiente estudio de mercado y aceptación por parte de los usuarios. Muschain es un juego colaborativo, en el cual se quiere explorar la creatividad y la colaboración entre artistas. El objetivo es que diferentes compositores participen en el desarrollo de una canción, cada uno realizando una pequeña porción de la misma, para luego juntarlos todos y obtener una pieza completa. Además esto permite descubrir nuevas personas con quien compartir su afición por la música, de una forma interactiva y divertida. El desarrollo de la aplicación se realizará mediante el uso de metodologías ágiles y Lean Startup. Para ello, se usarán herramientas como Git, PyCharm y Back4App. Se realizarán dos MVP y su correspondiente experimento con un conjunto de early adopters, obteniendo los resultados mediante una encuesta a través de un formulario online. Tras el análisis de los resultados se procederá a la creación de una segunda iteración del producto, que incluirá nuevas características y mejoras de las ya presentadas, junto con un nuevo experimento con una población más grande. La repetición de este proceso nos permitirá obtener una versión cercana al producto final. Palabras clave: MIDI, Python, QT, Redes sociales, Audio, Música, Juego. Abstract The goal of this TFG will be to develop a game for musicians and composers alike, doing a market research and studying the user reception. -
Microsoft Office Outlook
Eliot I. Bernstein Full Name: Above and Beyond First Name: Above and Beyond Job Title: James Grant - Manager Business: 44 20 8742 4950 E-mail: enquiries Categories: call ultrafest 09 20090319 cmb sent email to 20090319 cmb per recept not manager James Grant Media Ltd 94 Strand On The Green Chiswick London W4 3NN tel: 020 8742 4950 fax: 020 8742 4951 email: enquiries James Grant Music Management was formed in the early part of 2005 by Nick Worsley and Simon Hargreaves and is a joint venture with long established TV Management Company James Grant Media. Heading up the company are two former Sony Music Entertainment Executives - Nick Worsley who was Head of Radio Promotions and Simon Hargreaves who was Head Of Press and Publicity. Bringing together over 20 years of music industry experience across both Major labels and the Independent sector - James Grant Music delivers a fresh and extremely potent force in the Music Business and is already breaking new ground in the Music Management arena. 1 Eliot I. Bernstein Full Name: Alina First Name: Alina E-mail: [email protected] E-mail Display As: Alina ([email protected]) Categories: call ultrafest 09 20090319 cmb sent email to the email above AFFILIATION: Sequence Production BOOKING CONTACT: [email protected] BIOGRAPHY Alina Sequence career has begun in 1994 when it has started to work as the assistant to the arranger in a sound studio. Greater support was rendered by Andrey Ivanov (Triplex), having given many useful knowledge in the field of electronic tools, becoming first producer Alina. In 1997 Alina Sequence bases under the beginning a promo-label " Sequence Records " which is engaged in producing of young electronic musicians, and also release of releases of Russian electronic music. -
PRO AUDIO REVIEWS Hearing Is Believing “I Am Truly Blown Away by Their Balance, Quality and Spatialisation.” - Julian Treasure, Chairman of the Sound Agency
PRO AUDIO REVIEWS Hearing is Believing “I am truly blown away by their balance, quality and spatialisation.” - Julian Treasure, Chairman of The Sound Agency Julian Treasure is a sought-after and top-rated interna- in the world’s media, including TIME Magazine; The tional speaker on sound. Collectively his five TED talks Economist; The Times; TV and radio in the UK, US, on various aspects of sound and communication have Canada, Australia and Netherlands, as well as many been viewed an estimated 14 million times. He has been international trade and business magazines and web- widely featured as a sound and communication expert sites.www.ted.com/speakers/ julian_treasure Interview with Julian http://youtu.be/03imG6Ok6Rc Best of video: https://www.youtube.com/watch?v=cgQlB0mkSrY METROPOLIS STUDIOS Metropolis Studios in London is the home to the most now using the LCD-X in their Studios. Both have been in successful independent recording, mastering, creative audio mastering for over 25 years. Reading a list of and production facility in Europe. Led Zeppelin, The records that Stuart and John have mastered is like a Rolling Stones, U2, Rihanna, One Direction, Adele, and who’s who of modern music and global artists such as Lana Del Rey have all recorded, mixed or mastered with Led Zeppelin, Lana Del Ray, Amy Winehouse, The Prod- Metropolis in the last 12 months. Metropolis’ top two igy, Lorde, Ed Sheeran, Knife Party and Disclosure to mastering engineers Stuart Hawkes and John Davis are name a few. Interview with Stuart Hawkes: http://goo.gl/NDtN0v Metropolis Website: http://www.thisismetropolis.com/ Ken Andrews is the mix engineer of Paramore's No.1 Mind blown. -
Free Spire Presets W.A. Production Free Spire Presets
Ultimate List of FREE Resources for Producers Free Spire Presets Do you want some free top notch presets for the famous synthesizer Spire by Reveal Sound? Congratulations! You have come to the right place. Spire is a software polyphonic synthesizer that combines powerful sound engine modulation with flexible architecture and a graphical interface that provides unparalleled usability. Being such an amazing tool for sound design and being used by so many famous music producers around the world, we have decided to gather all the free Spire presets that we could find on the Internet and some presets that are made by W.A. Productions. W.A. Production Free Spire Presets 1 - Free FL Studio Progressive Template [FL Studio Project, Samples, Presets] It’s a free Progressive Trance Template project for FL Studio users that comes with some Spire presets. 2 - What About: FREE Complextro Kits Free Complextro kits that comes with awesome Spire presets. 3 - What About: Free EDM Sylenth1 & Spire Presets 60 free top notch Spire presets made by W.A. Production. 4 - Future House for Sylenth1 and Spire Demo Pack Ultimate presets pack created for all EDM, Future House, Deep House and House freaks out there. 5 - EDM Anthems Free Demo Pack Another must have construction kit pack which comes with Spire Presets for EDM producers out there. 1 6 - EDM Construction Kits Free Demo Pack Biggest sounds and melodies created by the W. A. Production team for all EDM freaks out there. 7 - Future House Kits Free Demo Pack A great new pack stuffed with future house vibes and tools inspired by names such as Oliver Heldens, Don Diablo, Martin Garrix, Burns and others. -
Dr. Fred Kersten Boston University
Creating Student e-Collaboration Opportunities for Online Music Course Interaction: Tools, Techniques, Scenarios. ATMI/CMS Conference October 24-26, 2019 Louisville, Kentucky Presenter: Dr. Fred Kersten Boston University Presentation at: http://fredkersten.com/ATMI19/KyATMI19.html e-mail: [email protected] 2 Abstract An examination of collaborative opportunities available through music technology packages that will allow college-level music students to interact as they collaborate on mutual projects necessary to complete course curriculum requirements. Composition, theory, soundscapes, software examination, arranging, and lesson plan design/implementation opportunities will be considered in addition to cutting-edge software and apps. Outline *My Task at BU: Revitalize the BU Tech course sequence! We are totally online but collaboration techniques can be added to any course scenario! Exciting collaboration: Assignments provide communication, motivation and interest. What I Will Explore For You Today: *Illustrate collaboration features of current software and online tools. *Consider rationale for collaboration. *Describe scenarios for collaboration involvement. *Examine software/online tool mechanics! *Play student collaboration examples. *Provide suggestions for possible collaboration activity in music subjects. *Observed excitement of online student involvement. *With Collaboration, my students’ assignments became: *More comprehensive! * Projects were longer!! *Student discussions became more detailed and extensive. *Students not just fulfilling the superficial assignment requirements! *Providing more comprehensive responses of depth. *One reason: *Students were participating in real-time music creation with peers who challenged and supported their creativity! Synchronous vs Asynchronous *Synchronous vs. Asynchronous interaction. How Sync is Sync?? Collaboration can be a philosophy with limited tech tools! *Simple to complex tools. Simple sharing of files to more complex communications opportunities as illustrated by ProTools interface. -
2020 Trends Report
QUARTER 4 2020 • ISSUE 430 2020 TRENDS REPORT Covid19 • Streaming Economics • #TheShowMustBePaused • Livestreaming • TikTok • Catalogues • Podcasts • Gaming • Antitrust • K-Pop • India • Africa • Bandcamp • China • Playlists • SoundCloud • Tips • Fake Streams • AI Music And Much, Much More! 1 Quarter Four 2020/Issue 430 www.musically.com ❱ Introduction Music Ally’s final report every year picks As a team, like every company, we had to figure out out the key trends of the past 12 months remote working and adapt our business to the new that we’ve seen in the music industry and realities, not to mention (again, like everyone) the stresses around keeping ourselves and our friends its digital ecosystem. and families safe. Perhaps the 2020 edition should just be a giant But here we are, at the end of 2020, proud of our printable poster of the Covid-19 coronavirus. But team and also proud of the wider music industry. nobody wants that on their walls. Hard work, innovation and lessons learned for the future is the story of 2020, rather than the As you’re hopefully well aware, Music Ally’s culture coronavirus. We hope this report gets that across. is one of curiosity and optimism. Our company was founded in 2002 at the height of the music industry’s Stuart Dredge misery around online piracy, and right from the start Editor, our message was that beyond filesharing there were Music Ally so many reasons to be excited about how digital technology could shape the industry. That natural optimism didn’t always come easily in 2020. thereport ❱ Introduction 2 Quarter Four 2020/Issue 430 www.musically.com The year of Covid-19 Well, what else would be the biggest trend of this cursed good viral-marketing strategy" – still true by the way) then 1.year? We racked our brains for a way to relegate Covid-19 in a story wondering "could the coronavirus outbreak affect the rankings, but the novel coronavirus reigns supreme. -
Perspectives for Music Education in Schools After the Pandemic
Michael Pabst-Krueger / Annette Ziegenmeyer (Editors) Perspectives for music education in schools after the pandemic A joint publication by authors of the network of Music Teacher Associations in Europe 1 Perspectives for music education in schools after the pandemic A joint publication by authors of the network of Music Teacher Associations in Europe (MTA) Preface Annette Ziegenmeyer & Michael Pabst-Krueger (Germany) How and what can we learn from each other in times of a worldwide pandemic that effects the education system as a whole and music education in particular? The global outbreak of the coronavirus pandemic showed that on the one hand people had to learn quickly how to manage how to interact and how to organize learning processes within a new framework. On the other hand, it became clear that it had never been so easy to look beyond the borders of one’s own country and to get connected: The sudden need to interact via video conferencing (a possible tool that existed already before though) opened new doors to exchanges on a national and international setting. Everybody was participating in a world-wide learning process. Since 2016, the Network of Music Teacher Associations in Europe (MTAs) under the umbrella of the European Association of Music in Schools (EAS) has exchanged and developed ideas and strategies on political work for music education in schools throughout Europe. Due to the outbreak of the pandemic, the annual meeting in 2020 had to take place on a video platform. The participants were very happy to exchange their recent experiences in teaching music during the pandemic and many forward-looking ideas for the further development of musical education were exchanged during these meetings. -
The Virtual Choir As Collaboration
The Virtual Choir as Collaboration JANET GALVÁN MATTHEW CLAUHS The outbreak of novel coronavirus the production of a single video. As the di- COVID-19 led to a global pandemic in the rector of choral activities at our institution, spring of 2020. At the time when this ar- I (fi rst author), wanted to keep our singers ticle was written, the virus had infected fi f- connected to their choral community and teen million people around the world and also provide them with a performance op- caused over 619,000 deaths.1 In the Unit- portunity. Prior research demonstrates the ed States, schools and universities closed vast benefi ts of group singing for commu- their campuses to slow the spread of the nity mental health,2 especially in response virus and minimize the loss of life. As a to adverse life events3 such as a global pan- result of school closures, music educators demic. Keeping communal singing alive were faced with a daunting task of adapt- (no matter what format) seemed important ing their classes and ensembles for remote for the well-being of the students. Addi- instruction, using video conferencing tools tionally, there is evidence of higher per- to deliver synchronous (at the same time) ceptions of social presence in virtual choirs content and online learning management when compared to live formats.4 After hav- systems such as Google Classroom and ing conversations with the second author, Blackboard for asynchronous (not at the a music education professor who taught a same time) teaching and learning. music technology class in the spring semes- We (the authors) responded to this chal- ter, we determined a virtual choir would be lenge by planning and implementing a mutually benefi cial for both the choir and collaborative virtual choir project. -
STUDY in MOBILE MUSIC TECHNOLOGY: HIGH SCHOOL STUDENTS COMPOSING with GARAGEBAND for Ipad
STUDY IN MOBILE MUSIC TECHNOLOGY: HIGH SCHOOL STUDENTS COMPOSING WITH GARAGEBAND FOR iPAD By STEVEN E. SABET A dissertation proposal submitted to the Graduate Committee of the Mason Gross School of the Arts, Rutgers, The State University of New Jersey, in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS Graduate Program in Music Education Written under the direction of Dr. Stephanie Cronenberg And approved by _____________________________________________ Dr. Stephanie Cronenberg, Assistant Professor of Music _____________________________________________ Dr. William Berz, Professor of Music _____________________________________________ Dr. Steven Kemper, Assistant Professor of Music _____________________________________________ Dr. Catherine A. Lugg, Professor of Education _____________________________________________ Dr. Brandon Williams, Assistant Professor of Music New Brunswick, New Jersey December 2018 i Abstract Given that a new era of music education technology has emerged in the 21st century and that technology presents increased opportunities for creativity, I investigated one application of integrating technology in the classroom using GarageBand for iPad. Music technology was shown to be an effective tool for reaching students outside of traditional music ensemble courses. Music technology can also fuse various music roles together, such as performer, composer, engineer, and producer. The purpose of this case study was to examine the experiences of high school students using GarageBand for iPad in a music technology class to compose original music. Students then shared and presented their works in class during peer-review critique sessions for growth and reflection. This study was carried out in my own classroom, and I served as both teacher and researcher. Three themes emerged from my research: Music and Production Features, Thinking Creatively, and Instructional Roadblocks.