3,100 research outputs found

    Pragmatic Considerations in Mixed Music: a Case Study of La Rage

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    With access to powerful real-time DSP languages now easier than ever, the new generation of mixed music composers are able to manage both sides of the coin: they have the programming skills and the compositional concerns that were traditionally the responsibility of two different persons. This brings more and more sophisticated integration of technical resources and compositional gestures. A good example of such integration is the author’s piece La Rage. In the light of general comments on the seamless integration of technology in this piece, the author, by discussing how compositional and technical concerns interact in his process of creation, tries to pinpoint key considerations that help him achieve this. He proposes two major categories, portability and adaptability, and explains how they were addressed in this specific work

    Augkit: an Augmented Drum Set System Designed for Live Performance

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    Augkit is an augmented drum set system designed for live performance. Augkit consists of a drum kit, microphone, audio interface, MIDI pad controller with foot switches, set of speakers, and a computer. I designed the processing audio engine in the visual programming language Max. Max processes the audio signal in a variety of ways that include delays, flanger, reverb, and synthesis that depend on the frequency content of the signal. Foot switches and MIDI pads toggle and modify the parameters of Augkit. This approach to playing drum set proves to be very flexible and offers new aesthetic possibilities for live performance and interaction with other musicians

    The Modern Keyboardist in Commercial Music

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    This paper provides an understanding of the skills and knowledge needed for the modern keyboardist to successfully function in commercial music. An overview of multiple keyboard instruments is presented and includes a brief history of each instrument, performance techniques specific to that instrument, and sound replication options available to the keyboardist. This paper also shows the influence of keyboards in commercial music

    Droplet-based luminescent sensor supported onto hydrophobic cellulose substrate for assessing fish freshness following smartphone readout

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    In this work, two sensitive droplet-based luminescent assays with smartphone readout for the determination of trimethylamine nitrogen (TMA-N) and total volatile basic nitrogen (TVB-N) are reported. Both assays exploit the luminescence quenching of copper nanoclusters (CuNCs) produced when exposed to volatile nitrogen bases. In addition, hydrophobic-based cellulose substrates demonstrated their suitability as holders for both in-drop volatile enrichment and subsequent smartphone-based digitization of the enriched colloidal solution of CuNCs. Under optimal conditions, enrichment factors of 181 and 153 were obtained with the reported assays for TMA-N and TVB-N, respectively, leading to methodological LODs of 0.11 mg/100 g and 0.27 mg/100 g for TMA-N and TVB-N, respectively. The repeatability, expressed as RSD, was 5.2% and 5.6% for TMA-N and TVB-N, respectively (N = 8). The reported luminescent assays were successfully applied to the analysis of fish samples, showing statistically comparable results to those obtained with the reference methods of analysis.Agencia Estatal de InvestigaciĂłn | Ref. RTI2018-093697-B-I00Universidade de Vigo/CISU

    AEMI: The Actuated Embedded Musical Instrument

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    This dissertation is a combination of acoustic and electronic musical creation, acoustic instruments and digital instruments, and a combination of all of these areas. Part I is an original composition for orchestra with the new instrument set as soloist. Part II is an examination of the development and influences of creating a new electronic musical instrument. Part I is a composition for AEMI (the Actuated Embedded Musical Instrument) and orchestra, entitled “Meditation on Solids, Liquids, and Gas.” This composition is a dialogue between the orchestra and instrument, set as an exchange of ideas; sometimes ideas lead to conflict, others lead to resolution. This also serves as a way to feature some of the musical capabilities of this new instrument. Part II is an examination of AEMI and its influences. Chapter 1 includes a discussion of existing instruments whose similar features influenced the development of AEMI: the Theremin, Manta, JD-1, Buchla controller, EVI and EWI, and Chameleon Guitar. While AEMI instrument does not have the same performance mechanics as the Theremin, Evi, or Ewi, understanding the physicality issues of an instrument, like the Theremin, provided insights into creating a versatile instrument that can be easily learned yet have virtuosic character. Ultimately, embedding expressivity, such as subtlety and nuance into the instrument, would be one of the most difficult aspects of creating an instrument and would demand the largest amount of work. Chapter 2 describes the aesthetics, technical aspects, difficulties, and musical abilities of the instrument. Attempts to combine acoustic and electronic music are not novel, the incorporation of acoustically driven resonance by electronic embedded instruments is new. The electroacoustic nature of this instrument is different than most electronic instruments. The controller and user interface is electronically driven, and its speakers/acoustic drivers are embedded within the instrument. This discussion may provide insights to musicians, composers, and instrument makers involved in the finding of new avenues of musical expression

    Liberated Debris: Protest by Making

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    Liberated Debris is a series of musical instruments made from discarded objects to explore our relationship with our devices. It’s a physical collage of components, materials and parts, put together to reveal new meanings. More specifically, it reveals and protests the decline of making among people, and the domination of manufacturers over all aspects of the technology production industry. This thesis challenges our reliance on manufacturers to fulfill all our technology needs, and aims to inspire the audience and engage them to become active makers. It argues that making can reclaim and redistribute knowledge for its own sake. Liberated Debris is an un-disciplined study that embraces all knowledge and all people, regardless of experience and education

    Do Clickers Improve Library Instruction? Lock in your Answers Now.

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    This study assesses the effect of clickers on retention of library instruction material. A comparison of quiz results of students who utilized clickers during instruction versus students who did not showed no gain in retention. Libraries are encouraged to consider pedagogical implications before applying novel technologies to instruction programs

    Sonic autoethnographies: personal listening as compositional context

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    This article discusses a range of self-reflexive tendencies in field recording, soundscape composition and studio production, and explores examples of sonic practices and works in which the personal listening experiences of the composer are a key contextual and compositional element. As broad areas for discussion, particular attention is given to soundscape composition as self-narrative (exploring the representation of the recordist in soundscape works) and to producing the hyperreal and the liminal (considering spatial characteristics of contemporary auditory experience and their consequences for sonic practice). The discussion then focuses on the specific application of autoethnographic research methods to the practice and the understanding of soundscape composition. Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author’s own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work
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