scholarly journals Philosophical and Aesthetic Principles of Creative Process Management by the Example of Sound Recording Process

Manuscript ◽  
2021 ◽  
pp. 2379-2383
Author(s):  
Vladislav Konstantinovich Krylov ◽  
Keyword(s):  
Creative Process ◽  
Process Management ◽  
Sound Recording ◽  
Recording Process

Listen Compose Listen: A study of perception, process and the spaces between in two works made from listening

2011 ◽  
Vol 16 (3) ◽  
pp. 211-219 ◽  
Author(s):  
Michelle Nagai
Keyword(s):  
New Jersey ◽  
Creative Process ◽  
Sound Recording ◽  
Delaware River ◽  
Perception Process ◽  
Aesthetic Ideas

This paper presents a detailed study of two works that arrive at sounds composed through the experience of sounds heard. Frances White's composition Centre Bridge, composed in 1999 for two shakuhachi and tape, is based largely on the sounds of a sonorous metal grate bridge that crosses the Delaware River between New Jersey and Pennsylvania. ASound Map of the Danube, composed by Annea Lockwood in 2005, reflects four years of sound recording along the length of that river's European to Balkan trajectory. Employing a range of diverse technical tools and aesthetic ideas, both works convey, powerfully and dynamically, a sense of deeply invested listening. I approach the discussion of specific compositional processes and musical outcomes in these two works through an investigation of Lockwood's and White's firsthand experiences as both listeners and composers. Centring on the exchange between sensing body and thinking mind, my research here engages with the arc of the creative process as an experience permeated by spaces of perception, reflection, imagination and action.

scholarly journals Tiefenbohrungen in den musikwissenschaftlichen Werk- und Autorschaftsbegriff mit digitalen Werkzeugen

2021 ◽  
Vol 35 (1) ◽  
pp. 182-206
Author(s):  
Karin Martensen
Keyword(s):  
Creative Process ◽  
Classical Music ◽  
Participant Observation ◽  
Research Data ◽  
Sound Recording ◽  
Work Process ◽  
Creative Processes ◽  
New Approaches ◽  
The Subject ◽  
Collaborative Interaction

Abstract The concept of work and authorship have long been the subject of intense reflection in historical musicology. Edition projects deal with composers and their work process and have developed new approaches for this purpose. Against the background of the question of where the ‘text’ to be edited actually ends, this paper discusses the possibilities of making director’s piano score (Regieklavierauszug) digitally visible and thus interpretable (understood as a work ‘sui generis’). Furthermore, the creative process of all participants in the classical sound recording is considered in terms of its digital visibility. On the basis of my research data from the DFG project “The sound recording studio as a discoursive room” at the TU Berlin/Audiokommunikation (participant observation, interviews, transcripts of recording processes, evaluations with MaxQDA) I show that these creative processes in the collaborative interaction of artists and engineers can also be found in classical music. By evaluating these (and other) materials with the help of MEI and TEI, new ways of ‘work’ and ‘authorship’ are also explored in this genre. Ultimately, this should also establish the sound recording as a ‘sui generis’ work.

scholarly journals SOUND RECORDING TECHNOLOGIES INFLUENCE ON CREATION AND TRANSLATION OF MUSICAL PIECES

2018 ◽  
Author(s):  
A. M. Tormakhova
Keyword(s):  
Real Time ◽  
Creative Process ◽  
Cultural Context ◽  
Sound Recording ◽  
Practical Application ◽  
Artistic Practice ◽  
Structural Modifications ◽  
Show Business ◽  
Tech Nologies ◽  
Technological Level

The article is devoted to the analysis of the influence of technology evolution on the process of producing and replicating works of art. There is a trans- formation of musical creativity, which occurs due to the opportunities that arise because of sound recording technologies development, processing and reproduction of musical sound. The process of performing a musical pieces and actually creating it are experiencing great improvisation. Live looping en- ables recording and playing looped audio samples in real time using special devices or software. The ability to create audio tracks and to use them in "real time" can concern both the concert activity of leading and well-known musicians, recordings in professional studios of performers of different genre and style directions, but the most expedient and influential are those who create compositions in "amateur" single. This expediency is based on the spectrum of practical application of one's own voice, which is impossible without devices equipped with such a technology. The development of artistic practice is not possible beyond the cultural context. Changes in one of the cultural spheres associated with emergence of ability to record audio, emergence of new tech- nologies, software – necessarily lead to essential or structural modifications in other areas. Using the principle of live looping allows you bypass most of the links associated with the show business infrastructure. However, the essence and stages of creative process remain largely unchanged. Improvisation, which is proclaimed as the main form of presentation of musical material while using live looping, becomes a pledge of creative maturity and skill of the performer, who acts as a composer, arranger and sometimes even a conductor. The development of the technological level helps create artistic projects, the appearance and implementation of which will depend on one person.

scholarly journals Design a bee calling tool using a caller voice and honey scent based on arduino and the blynk application

2021 ◽  
Vol 926 (1) ◽  
pp. 012036
Author(s):  
A Thoib ◽  
R Kurniawan ◽  
T H Budianto
Keyword(s):  
Honey Bees ◽  
Apis Cerana ◽  
Sound Recording ◽  
Frequency Range ◽  
Body Movements ◽  
Sugar Water ◽  
Bee Colony ◽  
Recording Process

Abstract Bees have the characteristics of always moving and will settle in one place because of the source of nectar. Bees use smells (pheromones) as a means of communication. In addition, bees also communicate through body movements called dances waggle and have a frequency range of 200 Hz - 300 Hz. Communication on bees serves to contain information about what will be done by a bee colony. Therefore the authors assume that honey bees can be called. So it is necessary to design a tool that can summon honey bees using the caller’s voice and the aroma of honey. The tool is controlled using Bluino and the Blynk app. The test was carried out using the caller’s voice in the frequency range of 265.9 Hz – 297.2 Hz which was obtained from the sound recording process in the bee colony Apis cerana, so the focus of this research was the process of calling bees Apis cerana. The aroma used is the aroma of resisting honey, the aroma of sugar water, and the aroma of bee attractants. From the results of testing using three kinds of scents for 7 days, the number of bees is called as follows. The aroma of honey against 837 tails, the aroma of sugar water 758 tails, and the aroma of attractant bees 118 tails. Based on the results of the study, the bee-calling device using the aroma of resisting honey was more dominant to use.

Sonic Menageries: Composing the sound of place

2012 ◽  
Vol 17 (3) ◽  
pp. 223-229 ◽  
Author(s):  
Budhaditya Chattopadhyay
Keyword(s):  
Digital Media ◽  
Creative Process ◽  
Spatial Diffusion ◽  
Sound Recording ◽  
Artistic Practice ◽  
Acoustic Ecology ◽  
Environmental Sound ◽  
Recorded Sound ◽  
Art Works ◽  
Audio Art

This article investigates the essential association between location and sound, mediated and represented by the process of recording and the subsequent creation of an artwork. The basic argument this article would like to develop is that location-specific sound recording, as practised by artists and phonographers, is basically an exercise in disembodiment of sound from environment, whether it is observational or immersive in approach; if the purpose of this mediation by recording is artistically reconstructive, the location-specificity of the recorded sound is displaced by the further mediation of the creative process. By developing the argument from an experimental angle, in relation to an audio art projectLandscape in Metamorphoses, this article will try to examine how the discourse of acoustic ecology becomes reconfigured in the shift from environmental sound content recorded at location to production of soundscape composition as audio artwork. Today, the application of digital media to artistic practice has become integral – in the case of audio art via creation of auditory art works (for both spatial diffusion and live interaction); this can bring about a reconfiguration of environmental aesthetics. The article will find relevance in redesigning the ecological discourse in the digital realm of ‘soundscaping’ through the practice of mediation, as composing of the sound of location, or ‘place’.

Insights Into the Creative Process of the Therapist

1978 ◽  
Vol 23 (6) ◽  
pp. 431-432
Author(s):  
SUSAN D. DEVOGE
Keyword(s):  
Creative Process
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