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- Volume 3, Issue 1, 2010
Journal of Music, Technology & Education - Volume 3, Issue 1, 2010
Volume 3, Issue 1, 2010
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The demonic and the divine: Unfixing replication in the phenomenology of sampling
More LessWe might sometimes note that listeners are divided in their ascription of authenticity to sampling in music: the essence of unoriginality for one, the found-object building block of real creativity for the other. This article explores how the use of existing music and sampling in particular might be re-perceived in the discourse of repetition, authenticity, creativity and originality, and collapses the gap in how types of existing music have been used over the last millennium, so that we might reconcile the difference in the technological means of replication across the centuries with the repetition of schema in the way extant music is reused, and that we might see the sameness of sampling and quotation in new music as well as the differences.
This article hopes to encourage an understanding for the composer-producer engaged in replication and re-presentation (through sampling, remixing, covering, etc) that his or her creative acts can be unveiled as honest (if not always lawful), and that whilst shifting technologies may make the sonic landscape different, the composer driving the technology need not bear the accusation of unoriginality when the repetition of schema is unveiled.
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Sounds, agents, works and listeners; A model of computer music performance
More LessThis article places computer music directly into Stan Godlovitch's Model of Musical Performance; an idealized conception of musical performance based on four fundamental constituents: sounds, agents, works and listeners. Godlovitch's model was originally intended to promote the unique value (Godlovitch 1998: 4) of scored instrumental music; as a result, one is not surprised to find computer music excluded on the grounds that it is not performed; it is played back (Godlovitch 1998: 100). Following a brief introduction to the Godlovitch model, this claim is rejected; performance is central to the computer music tradition and aesthetic, a fact that is frequently overlooked by those unfamiliar with the genre. In order to prove this point, a model of computer music performance is presented and defended; this may be seen as a direct challenge to Godlovitch's central thesis. However, it also represents a genuine attempt to align computer music with the performing arts and, in doing so, provide a framework through which the performance of such music can be accurately located and discussed.
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Educational tools based on MIR system for Arabian woodwinds
Authors: Rami Haddad, Fadi Mohammad Al-Ghawanmeh and M. T Al-GhawanmehMost educational musical software is designed for occidental music and instruments. As Arabian music has special features, utilization of most available musical software is limited. This article presents educational tools developed for Arabian woodwinds. These tools are based on a recently proposed system devoted to melodic retrieval of Arabian woodwinds and benefiting from an open Musical Instrument Digital Interface Toolbox. Four applications are presented and evaluated: Automatic Music Transcription of Arabian woodwinds, Music Information Retrieval to serve Arabian polyphony, query-by-playing for musical libraries and a tool for melodic analysis.
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The value of placements to undergraduate BSc (Hons) Music Technology students
By Roy PriestThis article explores the potential of the placement year for students on the BSc (Hons) Music Technology at Birmingham City University. Focusing on the value of placements to students, the research also explores the approach to assessment. Although various reports have investigated the value of student placements, specific studies centred on the importance of placements for students studying Music Technology are not available. Following a mixed methods case study paradigm, statistical data along with material drawn from interviews and questionnaires was analysed. The key findings were as follows: Students and employers are very positive about the benefits of placements, in particular in terms of employability and networking. Although widely seen as beneficial to academic performance, statistical analysis comparing the marks of non-placement students with ex-placement students is inconclusive. Approaches to assessment are considered and the importance of developing reflective practice is highlighted.
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Reviews
Authors: Jean Emmerson, Tiija Rinta, Joseph Anderson, Howard Wilde and Rowan OliverMusic and Mind in Everyday Life, Erik Clarke, Nicola Dibben and Stephanie Pitts (2010) Oxford: Oxford University Press, 224pp., ISBN 978-0-19-852557-8, Paperback, 19.99
Communicative Musicality Exploring the Basis of Human Companionship, Stephen Malloch and Colwyn Trevarthen (2010) UK: Oxford University Press, 627 pp, ISBN: 978-0-19-856628-1, 65.00
The Theory and Technique of Electronic Music, Miller Puckette (2007) Singapore: World Scientific Publishing, 348 pp., ISBN: 978-981-270-077-3, Hardback, 76
Protest Music in France: Production, Identity and Audiences by Barbara Lebrun (2009) Farnham: Ashgate Publishing, 192pp., hardcover, ISBN 978-0-7546-6472-7
The New Guitarscape in Critical Theory, Cultural Practice and Musical Performance, Kevin Dawe (2010) Aldershot: Ashgate, 227pp., ISBN: 9780754667759, Hardback, 55.00
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