Media Innovation Studio Interactive Review: Volume 1

The Media Innovation Studio’s founding aim in 2012 was to work across disciplines to explore the potential of creative and digital technologies to bring about positive change. Our ‘action research’ approach is lodged in a desire to create inclusively-designed prototypes as responses to real-world issues. Originally positioned within the University of Central Lancashire’s (UCLan) School of Journalism and Media, and now part of the College of Culture and the Creative Industries, the Studio’s remit is to inhabit ‘liminal spaces’ between disciplines. It hopes to explore, research and innovate within the digital ecosystem evolving around us. The human race is more socially, economically, politically and technologically interdependent than at any time in its history. Yet, inequality, instability and unsustainability remain. Collectively, the Media Innovation Studio is trying to understand whether technology has a contribution to make to resolving this broader set of fundamental social issues. Perhaps more interestingly, we’re asking whether there are an emerging series of ideas bound up in the creation and use of Information Computing Technology as it is repurposed by global communities to support activities that make our lives better. We do not believe that technology enables everyone by magically bridging the ‘digital divide’. Nor do we believe that its use by supporters of ‘digital democracy’ is any more democratic because of the use of ICT. Instead, we have discovered through a combination of talking to people, building relationships and making things together, possibilities for change are created. Thankfully, there’s plenty of evidence to demonstrate we’re capable of this. This review shows some of our projects, approaches and methodologies which combine disruptive design techniques, traditional social science and established practice-based methods from the arts. Focussing on the last 12 months of activity, the book also incorporates earlier projects that helped shape the thinking that brought us together to create the Media Innovation Studio

STILL RECORDING AFRICAN MUSIC IN THE FIELD

Field sound recordings are an indispensable source of data for ethnomusicologists. However, to my knowledge there are no standards or guidelines of how this data should be captured and managed. With the progress made in machine learning, it has become vital to record data in a way that also supports the retrieval of information about the music. This article describes a model developed for field recordings that aims to aid an objective data gathering process. This model, developed through an action research process that spanned multiple field recording sessions from 2009–2015, include recording equipment, production processes, the gathering of metadata as well as intellectual property rights. The core principles identified in this research are that field recording systems should be designed to provide accurate feedback as a means of quality control and should capture and manage metadata without relying on secondary tools. The major findings are presented in the form of a checklist that can serve as a point of departure for ethnomusicologists making field recordings

Wavelength (October 1981)

https://scholarworks.uno.edu/wavelength/1011/thumbnail.jp

Conference Reports

The COVID-19 pandemic caused many conference cancellations, while others moved to the virtual environment.  Below are reports from five virtual conferences: New England Chapter of the MLA by Marci CohenMountain-Plains Chapter of the MLA: Two Perspectives by Christine Edwards and Ellwood P. ColahanTeaching Music Online in Higher Education by Kevin MadillAssociation for Recorded Sound Collections by Rebecca ShawMusic Encoding Conference by Emily Hopkins, Yaolong Ju, Juliette Regimbal and Martha Thomae

Machito and His Afro-Cubans: Selected Transcriptions

Machito (Francisco Raúl Grillo, 1909–1984) was born into a musical family in Havana, Cuba, and was already an experienced vocalist when he arrived in New York City in 1937. In 1940 he teamed up with his brother-in-law, the Cuban trumpeter Mario Bauzá (1911–1993), who had already made a name for himself with top African American swing bands such as those of Chick Webb and Cab Calloway. Together, Machito and Bauzá formed Machito and his Afro-Cubans. With Bauzá as musical director, the band forged vital pan-African connections by fusing Afro-Cuban rhythms with modern jazz and by collaborating with major figures in the bebop movement. Highly successful with Latino as well as black and white audiences, Machito and his Afro-Cubans recorded extensively and performed in dance halls, nightclubs, and on the concert stage. In this volume, ethnomusicologist Paul Austerlitz and bandleader and professor Jere Laukkanen (both experienced Latin jazz performers) present transcriptions from Machito’s recordings which meticulously illustrate the improvised as well as scored vocal, reed, brass, and percussion parts of the music. Austerlitz’s introductory essay traces the history of Afro-Cuban jazz in New York, a style that exerted a profound impact on leaders of the bebop movement, including Dizzy Gillespie and Charlie Parker, who appears as a guest soloist with Machito on some of the music transcribed here. This is MUSA’s first volume to represent the significant Latino heritage in North American music.https://cupola.gettysburg.edu/books/1106/thumbnail.jp

The Rise and Fall of the Hillbilly Music Genre, A History, 1922-1939.

This research will examine the rise in popularity of the hillbilly music genre as it relates to the early part of the twentieth century as well as its decline with the arrival of the western hero, the cowboy. Chapter 1 examines the origins of traditional music and how instrumental the fiddle and banjo were in that development. Chapter 2 looks closely into the careers of recording artists who recorded what would later be called hillbilly music. Chapter 3 examines the string band and the naming of the hillbilly genre. Chapters 4 and 5 look at the aspect of radio programming and stereotypes. Chapter 6 discusses the homogenization of the hillbilly genre and the replacement of the hillbilly with the cowboy. This research will clarify the appeal of the hillbilly and highlight the negative stereotypes that started the genre and ultimately ended it leading into the Second World War

Arms and The Man

Playbill for the 1984 production of Arms and the Man , featuring Kelsey Grammer.https://digitalcommons.buffalostate.edu/saprograms/1043/thumbnail.jp

The life and legacy of MieczysLaw Munz

Mieczyslaw Munz (1900-1976) was one of the outstanding pianists of the twentieth century as both an acclaimed international concert artist and teacher. With a musical career that spanned over sixty years from his debut at the age of twelve, Munz was a significant link in carrying on the great traditions of the Golden Age of the Virtuoso and nineteenth-century piano playing. This research paper includes a biography of Munz; interviews with his students Faye Bonner, Paula Forrest, Jeffrey Marcus, David Oei, Ann Schein, Robert Swan and Stefan Young; a timeline of important events in the life of Munz; selections of Munz\u27s concert programs, reviews, and other memorabilia; and a list of recordings by Munz