What Goes into an Electronic Music Studio

1968 ◽  
Vol 55 (3) ◽  
pp. 70-73
Author(s):  
James Seawright
Keyword(s):  
Electronic Music

DIGITAL TRANSFORMATION IN EDUCATION: ACTIVE LEARNERS

2019 ◽  
pp. 14-21
Author(s):  
Sevinç GÜLSEÇEN
Keyword(s):  
Computer Games ◽  
Digital Technology ◽  
Electronic Music ◽  
Teaching And Learning ◽  
Active Role ◽  
Digital Transformation ◽  
Technology Literacy ◽  
Digital Television ◽  
Student Centered ◽  
Student Centered Learning

It is argued that the digital technology has made possible the vast range of applications and media forms including virtual reality, digital special effects, digital film, digital television, electronic music, computer games, multimedia, the Internet, the World Wide Web, digital telephony and so on [8]. Digital transformation has been particularly influential in new directions of society.Providing schools with digital technology promises a high return on investment. The presence of computers and Internet access raises technology literacy and skills, better preparing the future generations to participate in the information society [12]. To this end, schools represent ideal access points because they cover a large part of the population, especially in developing countries. Starting from 1990s, many educators have been realised the potential of Internet for educational purposes and began to introduce it into classrooms. According to [10] the popularity of web-based teaching and learning lies in the strengths of its distributed nature and the case of its browsing facility. Both the use of digital technology and increased interest in student-centered learning may lead to a significant change of the teacher’s role, as well as the recognition of the active role of the learner in the learning process.

Apparitions and Atmosphères (1958–61)

2017 ◽  
Author(s):  
Benjamin R. Levy
Keyword(s):  
Electronic Music ◽  
Internal Motion ◽  
Orchestral Works ◽  
Compositional Technique

This chapter examines Ligeti’s breakthrough orchestral works Apparitions and Atmosphères. These successful compositions translate some of the ideas developed in the electronic music studio into orchestral writing, in particular, techniques for organizing rhythm and for handling sound masses to create a static surface with a sense of internal motion. In interviews Ligeti claimed to have attempted to move in this direction while still in Hungary with the unfinished pieces Víziók and Sötét és Világos. A comparison of the extant sketches for these works shows the degree to which his experiences in the electronic studio resulted in a refinement of compositional technique, nuanced textures, and original orchestration.

scholarly journals Music for Monkeys: Building Methods to Design with White-Faced Sakis for Animal-Driven Audio Enrichment Devices

Animals ◽  
2020 ◽  
Vol 10 (10) ◽  
pp. 1768
Author(s):  
Roosa Piitulainen ◽  
Ilyena Hirskyj-Douglas
Keyword(s):  
Longitudinal Study ◽  
Electronic Music ◽  
Computer Systems ◽  
Interactive System ◽  
Novelty Effect ◽  
Non Invasive ◽  
Long Period ◽  
Long Time ◽  
Audio System ◽  
Computer Interaction

Computer systems for primates to listen to audio have been researched for a long time. However, there is a lack of investigations into what kind of sounds primates would prefer to listen to, how to quantify their preference, and how audio systems and methods can be designed in an animal-focused manner. One pressing question is, if given the choice to control an audio system, would or could primates use such a system. In this study, we design an audio enrichment prototype and method for white-faced sakis that allows them to listen to different sounds in their regular zoo habitat while automatically logging their interactions. Focusing on animal-centred design, this prototype was built from low fidelity testing of different forms within the sakis’ enclosure and gathering requirements from those who care for and view the animal. This process of designing in a participatory manner with the sakis resulted in an interactive system that was shown to be viable, non-invasive, highly interactive, and easy to use in a zoo habitat. Recordings of the sakis’ interactions demonstrated that the sakis triggered traffic audio more than silence, rain sounds, zen, and electronic music. The data and method also highlight the benefit of a longitudinal study within the animals’ own environment to mitigate against the novelty effect and the day-to-day varying rhythm of the animals and the zoo environment. This study builds on animal-centred methods and design paradigms to allow the monitoring of the animals’ behaviours in zoo environments, demonstrating that useful data can be yielded from primate-controlled devices. For the Animal-Computer Interaction community, this is the first audio enrichment system used in zoo contexts within the animals own environment over a long period of time that gives the primate control over their interactions and records this automatically.

scholarly journals Performers of the night: Examining the mental health of electronic music artists

2021 ◽  
pp. 030573562097698
Author(s):  
Jolan Kegelaers ◽  
Lewie Jessen ◽  
Eline Van Audenaerde ◽  
Raôul RD Oudejans
Keyword(s):  
Mental Health ◽  
Social Support ◽  
Sleep Disturbance ◽  
Electronic Music ◽  
Music Performance ◽  
Well Being ◽  
Cross Sectional ◽  
Music Performance Anxiety ◽  
Symptoms Of Depression ◽  
Levels Of Functioning

Despite growing popular interest for the mental health of electronic music artists, scientific research addressing this topic has remained largely absent. As such, the aim of the current study was to examine the mental health of electronic music artists, as well as a number of determinants. Using a cross-sectional quantitative design, a total of 163 electronic music artists participated in this study. In line with the two-continua model of mental health, both symptoms of depression/anxiety and well-being were adopted as indicators for mental health. Furthermore, standardized measures were used to assess potential determinants of mental health, including sleep disturbance, music performance anxiety, alcohol abuse, drug abuse, occupational stress, resilience, and social support. Results highlighted that around 30% of participants experienced symptoms of depression/anxiety. Nevertheless, the majority of these participants still demonstrated at least moderate levels of functioning and well-being. Sleep disturbance formed a significant predictor for both symptoms of depression/anxiety and well-being. Furthermore, resilience and social support were significant predictors for well-being. The results provide a first glimpse into the mental health challenges experienced by electronic music artists and support the need for increased research as well as applied initiatives directed at safeguarding their mental health.

In Search of Space: The Trope of Escape in German Electronic Music around 1968

2016 ◽  
Vol 26 (2) ◽  
pp. 339-352
Author(s):  
TIMOTHY SCOTT BROWN
Keyword(s):  
Federal Republic ◽  
Electronic Music ◽  
Historical Context ◽  
The Political ◽  
Central Theme ◽  
Musical Genre ◽  
History Of ◽  
The 1960S

‘In Search of Space’ explores the history of Krautrock, a futuristic musical genre that began in Germany in the late 1960s and flowered in the 1970s. Not usually explicitly political, Krautrock bore the unmistakable imprint of the revolt of 1968. Groups arose out of the same milieux and shared many of the same concerns as anti-authoritarian radicals. Their rebellion expressed, in an artistic way, key themes of the broader countercultural moment of which they were a part. A central theme, the article argues, was escape – escape from the situation of Germany in the 1960s in general, and from the specific conditions of the anti-authoritarian revolt in the Federal Republic in the wake of 1968. Mapping Krautrock's relationship to key locations and routes (both real and imaginary), the article situates Krautrock in relationship to the political and cultural upheavals of its historical context.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

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