News Content: from Event to Viewer

The purpose of the research is to analyze the way of news information from the event to the screen, to identify the extent to which the use of new technologies affects the audience, to determine the role of a journalist, an editor, a video editor and a sound engineer in this chain, to prove the importance of verifying information. The research methodology is based on a comprehensive theoretical analysis and descriptive-analytical approach, which combines methods of observation, comparison and generalization. The method of theoretical analysis of television stories, scientific publications, as well as determining the role of each employee of the channel, who works on the release of information on the air. Scientific novelty is a detailed analysis of news content on television, determining aspects of interdependence, efficiency and reliability of information when submitting news. Conclusions. Trends in the dynamic development of television have led to significant transformation processes and the use of the latest technologies to influence the audience in news content. The article analyzes the work with information at different levels, elaborates on each stage of news verification, summarizes news factors, approach to writing news stories.

Creation of musical pieces At GUITAR PRO 6 (Part 2)

The purpose of the article is to find out the specifics and methods of creating music in the sequencer GUITAR PRO 6. Methodology. The article uses a systematic approach, and also applies methods of comparison and generalization. Scientific novelty. For the first time in domestic musicology, innovative methods of working in the modern computer program sequencer GUITAR PRO 6 were discovered and proposed. The application of the methods and rules presented in the study provides the opportunity to transfer the work of a composer, arranger, sound engineer, musician, with a computer to a completely new stage in the development of musical creativity, which significantly improves the result of the study of musical texture, expanding the ways of existence of the work and the like. Conclusions. This software product is a powerful editor that allows you to create original scores at a professional level for subsequent editing. The program presents many useful tools with which the user can work with a different set of symbols of musical notation, as well as with a wide range of regulation of sound dynamics and tempo, which allows you to create samples of musical scores that sound and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and many other useful instruments for musicians. Ability to run Guitar Pro 6 on Windows, Linux, Mac OS platforms. Widely used by composers, arrangers, and sound engineers. Also, the methods of work in Guitar Pro 6 can be used for study by students who master the relevant specialties.

Vocal Arrangements: Technology, Aurality, and Authority in Qur'anic Recording

This article uses ethnography of a studio recording project underway at a Qur'anic school in Salé, Morocco, to offer new insight on sound, media, and religious authority in Islamic contexts. The aim of the project is to record the entire Qur'an incorporating all of its seven canonical, variant readings (qirā’āt), which are enjoying a small renaissance in Morocco. Several of the school's faculty, known as shaykhs, engaged as expert listeners and overseers of the process. I show how a historical model of such expert listenership, which I call “aural authority,” is transformed by the technologies of the studio and then dispersed across a collective of productive agents that includes the reciter and the sound engineer. I argue that these transformations, along with erasure of the shaykh's role from the medium of circulation—the recording—presents significant challenges to the broader qirā’āt tradition and raises questions about its future.

ABOUT MY TEACHER, FAMOUS SOUND DIRECTOR AND MUSICIAN VITALY NIKOLAEVICH GUSHCHIN

This article is about the famous sound engineer, talented musician and teacher Vitaly Nikolayevich Gushchin, who made an invaluable contribution to the development of various areas of sound engineering in Uzbekistan, including music, audiovisual and radio ones. He is one of those who carried out highly professional sound recording of classical, folk and pop music works, which made up the richest fund of national culture and are in great consumer demand. V. N. Gushchin trained several generations of specialists who successfully work in many areas of sound engineering in the republic and abroad.

SOUND RECORDING, AUDIO COMMUNICATIONS AND PIANO PERFORMANCE: EVOLUTION OF VIEWS

Sound recording and related audio communication tools are complex and ambiguous phenomena, the potential of which was revealed and implemented gradually, as technology improves and new performing practices are consolidated. Sound recording has become a determining factor in the development of musical culture in the XXth century, creating new forms of musical being, changing the principles of musical communication and distribution of roles in the musical hierarchy. In the field of piano art, recording led to the emergence of "virtual" forms of piano performance and post-production practices, gave a new aesthetic quality to piano art, revived the figure of composer-performer, and raised the value of a pianist-interpreter to a new level. The tradition to consider the evolution of art in the context of scientific and technological progress appeared in the 1970s. Nowadays in musicology, the aesthetic significance of recording for piano art remains undefined, there are no large generalizing studies on this issue. Recording has caused fundamental changes in the social life of music and musical performance, the transformation of the traditional musical communication system — these processes are currently most studied. The issues of musical communication are covered in the works of E. Dukov, E. Nazaikinsky, I. Orlova, A. Sokhor, A. Yakupov. Books by N. Lebrecht, Yu. Strakovich, A. Karabanova, T. Kuzub, Yu. Streglov are devoted to the problems of functioning of musical art and their historical origin. A considerable part of G. Gould's journalism is focused on prospects of sound recording. According to Gould, the participation of the performer-interpreter in the process of sound engineering brings his work closer to the composer, allowing "to establish a contact with a work, which is very similar to the composer's own attitude to it". Sound recording becomes the reason for transformation of the traditional system of "composer — performer — listener" musical communication, historically associated with the functioning of concert halls and the composer's priority role. Researchers note the complication of the communicative chain due to the inclusion of the figure of the sound engineer (Yu. Kapustin, I. Orlova). Feedback of listeners and the performer becomes mediated, it is carried out through other channels — public opinion, press (Yu. Kapustin), the figure of a musicologist critic (A. Yakupov, Yu. Streglov). The authors begin to consider sound recording as a new form of musical existence, different from concert practice, which develops its own means of expression, forms its own listener, creates its own performing personnel. In modern research, recording as a component of innovative progress achievements is included in the periodization of information technologies. Sound recording, being a means of documentary communication, creates a new quality of fixation of a work of art in the actual form of performing interpretation, post-production practices expand the aesthetic experience of the performer and listeners. In the modern musical landscape, sound recording becomes a product of joint work of a performer and sound engineer, art manager, music producer, while the role of the performer is "virtualized".