Digital Sound Sampling, Copyright and Publicity: Protecting against the Electronic Appropriation of Sounds

1987 ◽  
Vol 87 (8) ◽  
pp. 1723 ◽  
Author(s):  
Bruce J. McGiverin
Keyword(s):  
Digital Sound ◽  
Sound Sampling

RIDING THE WILD OCEAN: HORATIU RADULESCU'S SUBCONSCIOUS WAVE IN THEORY, PERFORMANCE AND RECORDING

Tempo ◽  
2021 ◽  
Vol 76 (299) ◽  
pp. 30-43
Author(s):  
Sam Cave
Keyword(s):  
Social Sciences ◽  
21St Century ◽  
Lecture Recital ◽  
Social Sciences And Humanities ◽  
Cd Recording ◽  
Aesthetic Concepts ◽  
Digital Sound

AbstractThis article focuses on Radulescu's 1984 Subconscious Wave, for guitar and pre-recorded digital sound, a work that features on my 2019 solo CD recording Refracted Resonance, for Métier Records, alongside music by Tristan Murail, Christopher Fox, George Holloway and myself. The article places the work in the context of Radulescu's output, demonstrates how it displays the key aesthetic concepts that drive his music and shares my insights into the technical and interpretive aspects of preparing the piece for performance and recording. The article has been adapted from a lecture-recital given at the 2021 edition of the 21st Century Guitar Conference, which was hosted by the Faculty of Social Sciences and Humanities at the Universidade NOVA de Lisboa (NOVA FCSH), Portugal in March 2021.

scholarly journals Digital Sound Encryption with Logistic Map and Number Theoretic Transform

2018 ◽  
Vol 974 ◽  
pp. 012016
Author(s):  
Yudi Satria ◽  
P.H. Gabe Rizky ◽  
MT Suryadi
Keyword(s):  
Logistic Map ◽  
Digital Sound

Real time digital sound synthesizer

1980 ◽  
Vol 68 (4) ◽  
pp. 1238-1239
Author(s):  
Harold G. Alles
Keyword(s):  
Real Time ◽  
Digital Sound

Completely reproducible description of digital sound data with cellular automata

2002 ◽  
Vol 306 (2-3) ◽  
pp. 110-115 ◽  
Author(s):  
Masato Wada ◽  
Jousuke Kuroiwa ◽  
Shigetoshi Nara
Keyword(s):  
Cellular Automata ◽  
Sound Data ◽  
Digital Sound

Development of skills to work with digital sound in the school informatics course

2021 ◽  
pp. 30-33
Author(s):  
N. Yu. Koroleva
Keyword(s):  
Digital Content ◽  
Sound Processing ◽  
Processing Technologies ◽  
Elective Course ◽  
Digital Competencies ◽  
Information Text ◽  
Video And Audio ◽  
Types Of Information ◽  
Digital Sound

The development of digital competencies of students is currently one of the main pedagogical tasks. The solution of this task is possible by paying attention to issues related to the skills of students to create their own digital content, for example, multimedia, combining various types of information (text, graphics, video and audio). The article provides a brief analysis of the content of teaching issues related to the study of digital sound processing technologies in a school informatics course. Taking into account the relevance of this issue, a thematic module "Digital Sound" is proposed, the content of which does not require binding to specific software. When  studying the module, the emphasis is on mastering specific technologies for processing sound information. The module can be implemented as an optional course for students in 7–9th grades and/or as an elective course for students in 10–11th grades. At the same time, particular blocks of the module can be used at various stages of teaching informatics at school

‘Modulation’ by Richard Powers: Digital sound, compression and the short story

2021 ◽  
Vol 11 (1-2) ◽  
pp. 161-176
Author(s):  
Michael Hedges
Keyword(s):  
Data Compression ◽  
Short Story ◽  
Original Music ◽  
Richard Powers ◽  
Recording Industry ◽  
File Size ◽  
Cultural Artifact ◽  
Use Of Data ◽  
Music File ◽  
Digital Sound

This article presents a reading of ‘Modulation’ (2008) by Richard Powers. Firstly, I consider the short story’s representation of the MP3 music file, specifically its effects on how music is circulated and stored, as well as how it sounds. These changes are the result of different processes of compression. The MP3 format makes use of data compression to reduce the file size of a digital recording significantly. Such a loss of information devises new social and material relations between what remains of the original music, the recording industry from which MP3s emerged and the online markets into which they enter. I argue that ‘Modulation’ is a powerful evocation of a watershed moment in how we consume digital sound: what Jonathan Sterne has termed the rise of the MP3 as ‘cultural artifact’. I contend that the short story, like the MP3, is also a compressed manner of representation. I use narrative theory and short story criticism to substantiate this claim, before positioning ‘Modulation’ alongside Powers’s novels of information. I conclude by suggesting that ‘Modulation’ offers an alternative to representing information through an excess of data. This article reads Powers’s compressed prose as a formal iteration of the data compression the story narrates.

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