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| degree in music technology: Beyond Sound Scott L. Phillips, 2013-07-18 Beyond Sound is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced world. Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, and his extensive network of music technology professionals, to present an intimate view of the exciting world of music technology. The book offers an in-depth consideration of music technology education, including looks at specific programs and a clear explanation of different types of degrees. Moreover, it provides practical guidance on career preparation, including how to get a great internship, how to land that first job, and how to make connections and move up in a variety of businesses from recording to television and film to video games. And Phillips brings stories from successful professionals, who share their experiences, advice, and suggestions. |
| degree in music technology: The Oxford Handbook of Technology and Music Education Alex Ruthmann, Roger Mantie, 2017 The Oxford Handbook of Technology and Music Education situates technology in relation to music education from perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, and policy.Chapters from a diverse group of authors provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. |
| degree in music technology: Music, Technology, and Education Andrew King, Evangelos Himonides, 2016-06-10 The use of technology in music and education can no longer be described as a recent development. Music learners actively engage with technology in their music making, regardless of the opportunities afforded to them in formal settings. This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: music production; game technology; musical creation, experience and understanding. The fourteen chapters reflect the emerging field of the study of technology in music from a pedagogical perspective. Contributions come not only from music pedagogues but also from musicologists, composers and performers working at the forefront of the domain. The authors examine pedagogical practice in the recording studio, how game technology relates to musical creation and expression, the use of technology to create and assess musical compositions, and how technology can foster learning within the field of Special Educational Needs (SEN). In addition, the use of technology in musical performance is examined, with a particular focus on the current trends and the ways it might be reshaped for use within performance practice. This book will be of value to educators, practitioners, musicologists, composers and performers, as well as to scholars with an interest in the critical study of how technology is used effectively in music and music education. |
| degree in music technology: The Routledge Guide to Music Technology Thom Holmes, 2013-10-18 First published in 2006. This guide is an A to Z trade reference aimed at music students, technophiles and audio-video computer users. The world of music technology has exploded over the last decades thanks to introductions of new digital formats. At the same time there has been a renaissance in analog high fidelity equipment and resurgent interest in turntables, long playing records and vintage stereo systems. Music students, collectors and consumers will appreciate the availability of a guide to all things musical in the technological universe. |
| degree in music technology: Gender in Music Production Russ Hepworth-Sawyer, Jay Hodgson, Liesl King, Mark Marrington, 2020-04-07 The field of music production has for many years been regarded as male-dominated. Despite growing acknowledgement of this fact, and some evidence of diversification, it is clear that gender representation on the whole remains quite unbalanced. Gender in Music Production brings together industry leaders, practitioners, and academics to present and analyze the situation of gender within the wider context of music production as well as to propose potential directions for the future of the field. This much-anticipated volume explores a wide range of topics, covering historical and contextual perspectives on women in the industry, interviews, case studies, individual position pieces, as well as informed analysis of current challenges and opportunities for change. Ground-breaking in its synthesis of perspectives, Gender in Music Production offers a broadly considered and thought-provoking resource for professionals, students, and researchers working in the field of music production today. |
| degree in music technology: Foundations of Music Technology V. J. Manzo, 2015-07-01 Foundations of Music Technology explores the core concepts of music technology and its uses as a mechanism to facilitate musicianship in a way that is accessible to all students--from the musician with limited technology skills to the technology expert with little knowledge in music notation. The text uses a free, customized software application for Mac or PC in order to demonstrate fundamental concepts of music technology germane to all professional applications like recording, synthesis, digital notation, MIDI, automating effects, acoustics, and more. With the concepts grasped using this software-independent approach, students can then transfer those learned skills over to the software of their choice. |
| degree in music technology: The Music Technology Cookbook adam patrick bell, 2020-10-27 Featuring 56 lessons by 49 music technology experts from around the world, The Music Technology Cookbook is an all-in-one guide to the world of music technology, covering topics like: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audio books, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, Sonic Pi, P5.js); and, designing instruments (MaKey MaKey). Each lesson tailored for easy use and provides a short description of the activity, keywords, materials needed, teaching context of the contributing author, time required, detailed instructions, modifications for learners, learning outcomes, assessment considerations, and recommendations for further reading. Music educators will appreciate the book's organization into five sections--Beatmaking and Performance; Composition; Multimedia and Interdisciplinary; Production; Programming--which are further organized by levels beginner, intermediate, and advanced. Written for all educational contexts from community organizations and online platforms to universities and colleges, The Music Technology Cookbook offers a recipe for success at any level. |
| degree in music technology: Leadership in Music Technology Education Daniel Walzer, 2023-10-02 Leadership in Music Technology Education examines the pedagogical, sociocultural, and philosophical issues that affect curriculum, research, and decision-making in music technology in higher education. This book considers a range of cutting-edge topics, including the impact of the COVID-19 pandemic, professional development concepts, partnerships between higher education and the creative and cultural industries, and the effects technology has on sustainability. Drawing on Leadership theories, including Transformational, Situational, Servant, and Social Change Model Theory, the book puts forward a new model, Creative Industry Leadership, which considers the sociocultural aspects of Music Technology Education, and interrogates biased ideologies that limit opportunities for a broad range of learners and practitioners in education and beyond. Additionally, Leadership in Music Technology Education examines educators’ informal leadership capacities during the COVID-19 pandemic and how inclusive pedagogy expands the creative boundaries of teaching, learning, and music-making for all. Leadership in Music Technology Education is crucial reading for instructors teaching audio engineering and music technology, as well as researchers in education, music pedagogy and related fields. This is also a valuable read for anyone with an interest in music technology and its many potentialities. |
| degree in music technology: Hope and Wish Image in Music Technology David P. Rando, 2016-11-15 This book proposes that new music technologies attract unconscious desires for socialism and collectivity, enabling millions of people living under capitalism to dream of repressed social alternatives. Grounded in the philosophical writings of Ernst Bloch and Walter Benjamin, the book examines file sharing technologies, streaming services, and media players, as well as their historical antecedents, such as the player piano, cassette tape, radio and compact disc, alongside interpretations of fiction, memoir, and albums. Through the concept of wish images—the unconscious hopes and desires for social alternatives that gather around new technologies—the book identifies the repressed pre- and post-capitalist urges that attend our music technologies. While these desires typically remain unconscious and tend to pass away not only unmet but also unrecognized, Hope and Wish Image in Music Technology attempts to bring wishes for social alternatives to the surface at an auspicious moment of technological transition. |
| degree in music technology: The Art of Digital Audio Recording Steve Savage, 2011-06 Making great audio recordings requires striking the right balance between technical know-how and practical understanding of recording sessions. Even in the digital age, some of the most important aspects of creating and recording music are non-technical and, as a result, are often overlooked by traditional recording manuals. The Art of Digital Audio Recording teaches readers what they really need to know in order to make great sound recordings with computers - both the practical and the technical information, including: DT What to look and listen for in a recording environment DT Straightforward advice on recording almost any instrument DT Essentials of digital audio workstations DT Essentials of recording gear: microphones, mixers, and speakers DT Fundamentals of understanding and applying EQ, compression, delay, and reverb DT Secrets to running creative recording sessions DT Practical application of digital editing, mixing, and masteringA special section identifies solutions to the most common challenges in the recording studio, and the book also features an addendum with essential tips and reference information including: DT How to walk into a commercial studio and be the engineer DT Researching and buying gear: Internet vs. brick and mortar DT Digital formats: A handy referenceAs a whole, The Art of Digital Audio Recording is an essential resource that gives recordists the tools they need to let technical understanding serve greater musical goals. |
| degree in music technology: Music: The Business Ann Harrison, 2011-06-30 This essential and highly acclaimed guide, now updated and revised in its fifth edition, explains the possibilities and pitfalls of the British music industry, from the developments in new media, privacy, sponsorship and sampling to the expanding role of the internet and the dominance of digital music. Drawing on her extensive experience as a media lawyer, Ann Harrison offers a unique, expert opinion on the deals, the contracts and the business as a whole. She examines in detail the changing face of the music business and provides absorbing case studies of huge stars such as Robbie Williams, Ms Dynamite and Elvis Presley. Fascinating, practical and comprehensive, this is the bible for the music industry and indispensable reading for any musical entrepreneur. |
| degree in music technology: The Routledge Companion to Music, Technology, and Education Andrew King, Evangelos Himonides, S. Alex Ruthmann, 2017-01-20 The Routledge Companion to Music, Technology, and Education is a comprehensive resource that draws together burgeoning research on the use of technology in music education around the world. Rather than following a procedural how-to approach, this companion considers technology, musicianship, and pedagogy from a philosophical, theoretical, and empirically-driven perspective, offering an essential overview of current scholarship while providing support for future research. The 37 chapters in this volume consider the major aspects of the use of technology in music education: Part I. Contexts. Examines the historical and philosophical contexts of technology in music. This section addresses themes such as special education, cognition, experimentation, audience engagement, gender, and information and communication technologies. Part II. Real Worlds. Discusses real world scenarios that relate to music, technology, and education. Topics such as computers, composition, performance, and the curriculum are covered here. Part III. Virtual Worlds. Explores the virtual world of learning through our understanding of media, video games, and online collaboration. Part IV. Developing and Supporting Musicianship. Highlights the framework for providing support and development for teachers, using technology to understand and develop musical understanding. The Routledge Companion to Music, Technology, and Education will appeal to undergraduate and post-graduate students, music educators, teacher training specialists, and music education researchers. It serves as an ideal introduction to the issues surrounding technology in music education. |
| degree in music technology: Pro Tools for Music Production Mike Collins, 2012-11-12 Pro Tools for Music Production is a definitive guide to the system for new and professional users. Extensively illustrated in colour and packed with time saving hints and tips, you will want to keep to hand as a constant source of information. The book takes a real-world approach and shows how to build the right system to suit your needs. Detailed chapters on recording, editing and mixing blend essential knowledge with tutorials and practical examples from actual recordings. The second edition features a wealth of new and updated material, including: · Pro Tools HD systems explained · Pro Tools 6.1 software (and up to version 6.2.3) · Mac OSX installation and troubleshooting · A new chapter on MIDI · Additional and expanded tutorials · More on Identify Beat, Beat Detective and tempo maps · Extra coverage of plug-ins and virtual instruments · How to use Propellerheads Reason and Ableton Live with Pro Tools · What you need to know about the new file management capabilities · How to transfer projects between Pro Tools and other MIDI and audio software, and between Pro Tools TDM on the Mac and Pro Tools LE on the PC Pro Tools for Music Production is a vital source of reference to keep by your side, whether you are a working professional or a serious hobbyist looking for professional results. |
| degree in music technology: The Oxford Handbook of Technology and Music Education S. Alex Ruthmann, Roger Mantie, 2017-07-06 Few aspects of daily existence are untouched by technology. Learning and teaching music are no exceptions and arguably have been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. To tease out and elucidate some of the salient problems, interests, and issues, The Oxford Handbook of Technology and Music Education critically situates technology in relation to music education from a variety of perspectives: historical; philosophical; socio-cultural; pedagogical; musical; economic; policy, organized around four broad themes: Emergence and Evolution; Locations and Contexts: Social and Cultural Issues; Experiencing, Expressing, Learning and Teaching; and Competence, Credentialing, and Professional Development. Chapters from a highly diverse group of junior and senior scholars provide analyses of technology and music education through intersections of gender, theoretical perspective, geographical distribution, and relationship to the field. The Oxford Handbook of Technology and Music Education's dedication to diversity and forward-facing discussion promotes contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses. |
| degree in music technology: The Art of Music Production Richard James Burgess, 2013-09-19 In this book, veteran music producer Richard James Burgess gives readers the tools they need to understand the complex field of music production. He defines the many roles that fall to the music producer by focusing first on the underlying theory of music production, before offering a second section of practical aspects of the job. |
| degree in music technology: Computational Music Analysis David Meredith, 2015-10-27 This book provides an in-depth introduction and overview of current research in computational music analysis. Its seventeen chapters, written by leading researchers, collectively represent the diversity as well as the technical and philosophical sophistication of the work being done today in this intensely interdisciplinary field. A broad range of approaches are presented, employing techniques originating in disciplines such as linguistics, information theory, information retrieval, pattern recognition, machine learning, topology, algebra and signal processing. Many of the methods described draw on well-established theories in music theory and analysis, such as Forte's pitch-class set theory, Schenkerian analysis, the methods of semiotic analysis developed by Ruwet and Nattiez, and Lerdahl and Jackendoff's Generative Theory of Tonal Music. The book is divided into six parts, covering methodological issues, harmonic and pitch-class set analysis, form and voice-separation, grammars and hierarchical reduction, motivic analysis and pattern discovery and, finally, classification and the discovery of distinctive patterns. As a detailed and up-to-date picture of current research in computational music analysis, the book provides an invaluable resource for researchers, teachers and students in music theory and analysis, computer science, music information retrieval and related disciplines. It also provides a state-of-the-art reference for practitioners in the music technology industry. |
| degree in music technology: How To Become A DJ, How To Be Highly Successful As A DJ, And How To Earn Revenue As A DJ Dr. Harrison Sachs, 2022-03-04 This essay sheds light on how to become a DJ, explicates how to be highly successful as a DJ, and elucidates how to earn revenue as a DJ. While becoming a DJ may seem be an eminently cumbersome, expensive, time-consuming, and daunting undertaking, it is viably possible to become a DJ. Much to the relief of prospective DJs, it is possible to become a DJ in a time span of less than half of a decade and the journey to become a DJ is not as lengthy as the journey to pursue certain other occupations, such as the occupations of a medical doctor or attorney. The pathway that a prospective DJ can follow to become a DJ is fraught with challenges that are not a cinch to surmount. It can be arduous to fulfill the duties of a DJ. Disc jockey skills are highly desirable skills to possess. As of March of 2022, only an infinitesimal fraction of one percent of the global population work as DJs in the U.S. For instance, it is estimated that less than 14,800 work as DJs even though the U.S. population is comprised of over 332,000,000 people as of March of 2022. As of March of 2022, less than .00445% of people in the U.S. are employed as DJs. This means that out of 22,433 random people in the U.S., about only one person at most would work as a DJ as of March of 2022. As of March of 2022, it was estimated that there were more medical doctors and attorneys as an aggregate in the U.S. than DJs in the U.S. even though it takes far more years to fulfill the ample mandatory requirements to become a medical doctor or attorney than it takes to fulfill the mandatory requirements to become a DJ. As of March of 2022, there are no mandatory requirements that need to be fulfilled for a person to become a DJ. As of March of 2022, the economy is unequivocally in dire need of more DJs, especially since they are able to render social events all the more exhilarating to attend for people who are eminently fond of music. People rely on DJs to educe a thrilling atmosphere at the venues of social events. DJs cherry-pick stimulating songs for people to dance to at the venues of social events in order to render the social events all the more exciting for people to attend who revel in listening to music. DJs are not only capable of cherry-picking stimulating songs for people to dance to at the venues of social events, but are also capable of producing their own music. When song selections are egregiously abysmal at social events, then this can render them unexciting for people to attend and can detract from their fun factor if people do not feel compelled to dance to the recorded music at the venues of social events. DJs should ensure that their playlist selection is not banal, unstimulating, and insipid, but is rather exhilarating, thrilling, and stimulating. DJs should ensure that their playlist selection is compelling enough so that attendees of social events feel innately inclined to dance to the recorded music at the venues of social events. DJs should be receptive of the ambiance of the social events that they are playing recorded music at. A DJ should expeditiously revamp his playlist selection in the event that his current playlist selection receives unfavorable reception at a social event where he is playing recorded music at. People prefer for social events to serve as a metaphorical catalyst for allowing them to bask in having fun. Freelance DJs are not limited to furnishing their service offerings to an infinitesimal clientele. DJs can be “self-employed and work on a contractual basis”. Freelance DJs are able to customize their own schedule and furnish their service offerings to clients from around the world. There are a myriad of disparate types of DJs. Some of the ample disparate types of DJs encompass “radio DJs, mobile DJs, wedding DJs, and turntablists”. The competencies can vary from DJ to DJ. It would ultimately behoove a prospective DJ to explore the various DJ career paths so that he can ascertain what specific type of DJ career is the utmost befitting DJ career for him to be pursuant of for years on end. A wedding DJ’s role at wedding events can extend far beyond the ambit of him simply playing recorded music at wedding events. The tasks of wedding DJs can, for instance, involve playing recorded music at wedding events, providing sound equipment at wedding events, providing lighting equipment at wedding events, and accommodating the music preferences of the newly married couple of a wedding event. |
| degree in music technology: Music Education with Digital Technology John Finney, Pamela Burnard, 2007-11-13 Looks at new ways of thinking about the application of music and technology in schools, and addresses a range of environments and contexts that demonstrate new directions in music education. |
| degree in music technology: Online Learning in Music Judith Bowman, 2014-08-07 Online Learning in Music: Foundations, Frameworks, and Practices offers fresh insights into the growth of online learning in music, perspectives on theoretical models for design and development of online courses, principles for good practice in online education, and an agenda for future research. Author Judith Bowman provides a complete overview of online education in music, including guidelines and accreditation standards for online instruction as well as a look at current research on online learning in music. She also explores several theoretical models for online course design, development, and implementation, before presenting a creative approach to online course design, both for fully online and also for blended courses. As a whole, the book challenges stereotypical views of professors as sage on the stage or guide on the side, characterizing the online professor instead as Director of Learning. Necessary reading for all who work in online learning in music, it also suggests important ways both to prevent problems and also to resolve those that do arise. |
| degree in music technology: Music Technology and Education Andrew Brown, 2014-12-05 Music Technology in Education lays out the principles of music technology and how they can be used to enhance musical teaching and learning in primary and secondary education. Previously published as Computers in Music Education, this second edition has been streamlined to focus on the needs of today’s music education student. It has been completely updated to reflect mobile technologies, social networks, rich media environments, and other technological advances. Topics include: Basic audio concepts and recording techniques Enhanced music instruction with interactive systems, web-based media platforms, social networking, and musicianship software Administration and management of technology resources Distance education and flexible learning Music Technology in Education provides a strong theoretical and philosophical framework for examining the use of technology in music education while outlining the tools and techniques for implementation in the classroom. Reflective Questions, Teaching Tips, and Suggested Tasks link technology with effective teaching practice. The companion website provides resources for deeper investigation into the topics covered in each chapter, and includes an annotated bibliography, website links, tutorials, and model projects. |
| degree in music technology: Audio Education Daniel Walzer, Mariana Lopez, 2020-06-09 Audio Education: Theory, Culture, and Practice is a groundbreaking volume of 16 chapters exploring the historical perspectives, methodologies, and theoretical underpinnings that shape audio in educational settings. Bringing together insights from a roster of international contributors, this book presents perspectives from researchers, practitioners, educators, and historians. Audio Education highlights a range of timely topics, including environmental sustainability, inclusivity, interaction with audio industries, critical listening, and student engagement, making it recommended reading for teachers, researchers, and practitioners engaging with the field of audio education. |
| degree in music technology: Music, Technology, Innovation Carol Johnson, Andrew King, 2024-12-03 Music, Technology, Innovation: Industry and Educational Perspectives draws upon cutting-edge practice in the use of technology from both a pedagogical and industry perspective. Situated within the latest research, this edited volume explores technological innovation from a musical perspective, examines current trends within the industry, and carefully considers them from an educational perspective. Noted throughout history, music education is responsive to industry innovations. However, emerging technologies often begin with over-hyped promises before they move through various phases of development and are then repurposed for learning and teaching. Educators can adopt an innovation and develop a framework that is pedagogically sound and learner-centred. Based on these ideas, the authors together highlight industry innovations that have potential outcomes for engaging students in music learning within research-informed practices, build upon these ideas and identify proactive mechanisms for teaching music education, and work towards developing a framework for understanding these phenomena. The chapters address key topics including the ethics of technology, AI and music, online performance and teaching, gamification, big data, teaching audio production, acoustic ecology, and more. The examination of areas in contemporary innovation can further support the potential to empower teachers and students to understand the opportunities for teaching, sustainability, and growth in music education. |
| degree in music technology: The First-Year Music Major Kerry B. Renzoni, Victoria J. Furby, 2022-09-30 Designed to address the many challenges that first-year undergraduate music students often encounter, The First-Year Music Major: Strategies for Success provides concrete approaches that will help anyone embarking on a degree in music develop the knowledge and skills needed to complete their first year successfully. The chapters demystify the path of majoring in music, and address key topics including: Planning a road map for the degree Developing needed musical, academic, professional, practice, and performance skills Building financial, mental, and physical well-being strategies Written by a group of experienced professors and advisors in roles across the faculty of music, this book offers a comprehensive resource for first-year music students that will help them develop foundational skills to pursue music degrees and careers. An online e-resource accompanies the book, providing downloadable worksheets and materials referenced in the chapters. Rooted in research and extensive practical experience, The First-Year Music Major is suited to use both in introductory music courses and by individual students and advisors. |
| degree in music technology: An Introduction to Music Studies John Paul Edward Harper-Scott, Jim Samson, 2009-01-15 Why study music? An introduction to the main aspects of the subject, outlining the many benefits of a music degree. |
| degree in music technology: Pop Music - Technology and Creativity Timothy Warner, 2017-10-03 This highly original and accessible book draws on the author‘s personal experience as a musician, producer and teacher of popular music to discuss the ways in which audio technology and musical creativity in pop music are inextricably bound together. This relationship, the book argues, is exemplified by the work of Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s. In the first part of the book, Timothy Warner presents a definition of pop as distinct from rock music, and goes on to consider the ways technological developments, such as the transition from analogue to digital, transform working practices and, as a result, impact on the creative process of producing pop. Part two analyses seven influential recordings produced by Trevor Horn between 1979 and 1985: 'Video Killed the Radio Star' (The Buggles), 'Buffalo Gals' (Malcolm McClaren),'Owner of a Lonely Heart' (Yes), 'Relax' (Frankie Goes to Hollywood), 'Slave to the Rhythm' (Grace Jones), and albums by The Art of Noise and Propaganda. These records reveal how the creative use of technology in the modern pop recording studio has informed Horn‘s work, a theme that is then explored in an extensive interview with Horn himself. |
| degree in music technology: Music Technology with Swing Mitsuko Aramaki, Matthew E. P. Davies, Richard Kronland-Martinet, Sølvi Ystad, 2018-11-23 This book constitutes the refereed proceedings of the 13th International Symposium on Music Technology with Swing, CMMR 2017, held in Matosinhos, Portugal, in September 2017. The 44 full papers presented were selected from 64 submissions. The papers are grouped in eight sections: music information retrieval, automatic recognition, estimation and classification, electronic dance music and rhythm, computational musicology, sound in practice: auditory guidance and feedback in the context of motor learning and motor adaptation, human perception in multimodal context, cooperative music networks and musical HCIs, virtual and augmented reality, research and creation: spaces and modalities. |
| degree in music technology: Technology Supported Learning and Teaching: A Staff Perspective O'Donoghue, John, 2006-03-31 This book enumerates the difficulties in implementing technology within the educational curriculum in the context of institutional policy and procedures--Provided by publisher. |
| degree in music technology: Push Mike D'Errico, 2022 Push: Software Design and the Cultural Politics of Music Production shows how changes in the design of music software in the first decades of the twenty-first century shaped the production techniques and performance practices of artists working across media, from hip-hop and electronic dance music to video games and mobile apps. Emerging alongside developments in digital music distribution such as peer-to-peer file sharing and the MP3 format, digital audio workstations like FL Studio and Ableton Live introduced design affordances that encouraged rapid music creation workflows through flashy, user-friendly interfaces. Meanwhile, software such as Avid's Pro Tools attempted to protect its status as the industry standard, professional DAW of choice by incorporating design elements from pre-digital music technologies. Other software, like Cycling 74's Max, asserted its alterity to commercial DAWs by presenting users with nothing but a blank screen. These are more than just aesthetic design choices. Push examines the social, cultural, and political values designed into music software, and how those values become embodied by musical communities through production and performance. It reveals ties between the maximalist design of FL Studio, skeuomorphic design in Pro Tools, and gender inequity in the music products industry. It connects the computational thinking required by Max, as well as iZotope's innovations in artificial intelligence, with the cultural politics of Silicon Valley's design thinking. Finally, it thinks through what happens when software becomes hardware, and users externalize their screens through the use of MIDI controllers, mobile media, and video game controllers. Amidst the perpetual upgrade culture of music technology, Push provides a model for understanding software as a microcosm for the increasing convergence of globalization, neoliberal capitalism, and techno-utopianism that has come to define our digital lives. |
| degree in music technology: Ph.D. SCHOLARSHIPS FOR AFRICANS IN THE UNITED STATES ERNEST MAKULILO, |
| degree in music technology: Colleges That Change Lives Loren Pope, 2006-07-25 Prospective college students and their parents have been relying on Loren Pope's expertise since 1995, when he published the first edition of this indispensable guide. This new edition profiles 41 colleges—all of which outdo the Ivies and research universities in producing performers, not only among A students but also among those who get Bs and Cs. Contents include: Evaluations of each school's program and personality Candid assessments by students, professors, and deans Information on the progress of graduates This new edition not only revisits schools listed in previous volumes to give readers a comprehensive assessment, it also addresses such issues as homeschooling, learning disabilities, and single-sex education. |
| degree in music technology: The Routledge Research Companion to Popular Music Education Gareth Smith, Zack Moir, Matt Brennan, Shara Rambarran, Phil Kirkman, 2017-01-20 Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are becoming commonplace across higher education. Additionally, specialist pop/rock/jazz graded exam syllabi, such as RockSchool and Trinity Rock and Pop, have emerged in recent years, meaning that it is now possible for school leavers in some countries to meet university entry requirements having studied only popular music. In the context of teacher education, classroom teachers and music-specialists alike are becoming increasingly empowered to introduce popular music into their classrooms. At present, research in Popular Music Education lies at the fringes of the fields of music education, ethnomusicology, community music, cultural studies and popular music studies. The Routledge Research Companion to Popular Music Education is the first book-length publication that brings together a diverse range of scholarship in this emerging field. Perspectives include the historical, sociological, pedagogical, musicological, axiological, reflexive, critical, philosophical and ideological. |
| degree in music technology: Arduino for Musicians Brent Edstrom, 2016 Presents relevant concepts, including basic circuitry and programming, in a building-block format that is accessible to musicians and other individuals who enjoy using music technology. In addition to comprehensive coverage of music-related concepts including direct digital synthesis, audio input and output, and the Music Instrument Digital Interface (MIDI), the book concludes with four projects that build on the concepts presented throughout the book. The projects, which will be of interest to many electronic musicians, include a MIDI breath controller with pitch and modulation joystick, 'retro' step sequencer, custom digital/analog synthesizer, and an expressive MIDI hand drum.--Provided by publisher. |
| degree in music technology: Audio Engineering 101 Tim Dittmar, 2017-10-16 Practical, concise, and approachable, Audio Engineering 101, Second Edition covers everything aspiring audio engineers need to know to make it in the recording industry, from the characteristics of sound to microphones, analog versus digital recording, EQ/compression, mixing, mastering, and career skills. Filled with hand-ons, step-by-step technique breakdowns and all-new interviews with active professionals, this updated edition includes instruction in using digital consoles, iPads for mixing, audio apps, plug-ins, home studios, and audio for podcasts. An extensive companion website features fifteen new video tutorials, audio clips, equipment lists, quizzes, and student exercises. |
| degree in music technology: College Guide for Performing Arts Majors Carole J. Everett, 2009-09-14 Describes graduate programs in art, dance, music, and theater, and lists undergraduate programs. |
| degree in music technology: The Art of Record Production Simon Zagorski-Thomas, Katia Isakoff, Serge Lacasse, Sophie Stévance, 2019-07-01 The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress. |
| degree in music technology: An Introduction to Music Technology Dan Hosken, 2014-08-01 An Introduction to Music Technology, Second Edition provides a clear overview of the essential elements of music technology for today’s musician. This book focuses on the topics that underlie the hardware and software in use today: Sound, Audio, MIDI, Computer Notation, and Computer- Assisted Instruction. Appendices cover necessary computer hardware and software concepts. Written for both music technology majors and non-majors, this textbook introduces fundamental principles and practices so students can learn to work with a wide range of software programs, adapt to new music technologies, and apply music technology in their performance, composition, teaching, and analysis. Features: Thorough explanations of key topics in music technology Content applicable to all software and hardware, not linked to just one piece of software or gear In-depth discussion of digital audio topics, such as sampling rates, resolutions, and file formats Explanations of standard audio plug-ins including dynamics processors, EQs, and delay based effects Coverage of synthesis and sampling in software instruments Pedagogical features, including: Further Reading sections that allow the student to delve deeper into topics of interest Suggested Activities that can be carried out with a variety of different programs Key Terms at the end of each chapter What Do I Need? Chapters covering the types of hardware and software needed in order to put together Audio and MIDI systems A companion website with links to audio examples that demonstrate various concepts, step-by-step tutorials, relevant hardware, software, and additional audio and video resources. The new edition has been fully updated to cover new technologies that have emerged since the first edition, including iOS and mobile platforms, online notation software, alternate controllers, and Open Sound Control (OSC). |
| degree in music technology: Music Technology in Live Performance Tim Canfer, 2023-12-07 Music Technology in Live Performance explores techniques to augment live musical performance and represents a comprehensive guide to best practices in music technology for live performance. This book presents a practical and accessible introduction to the theories of liveness and an array of live performance technologies and techniques. Areas covered include analogue and digital audio, live sound, the recording studio, and electronic music, revealing best professional practices and expert tips, alongside an exploration of approaches to increasing the exchange of energy in live performance. Music Technology in Live Performance is an ideal introduction for students of music performance, music production, and music technology, and a vital resource for professional musicians, producers, and technology developers. |
| degree in music technology: Music and Digital Media Georgina Born, 2022-09-12 Anthropology has neglected the study of music and this needs to be redressed. This book sets out to show how and why. It does so by bringing music to the subfield of digital anthropology, arguing that digital anthropology has much to gain by expanding its horizons to music – becoming more interdisciplinary by reference to digital/media studies, music and sound studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the ‘digital’ assume clamouring audibility – while acting as a testing ground for innovations in the digital-cultural industries. The book contains ten chapters, eight of which present comprehensive original ethnographies. The chapters between them addresses popular, folk and art musics in the global South and North, including Kenya, Argentina, India, Canada and the UK/Europe, with each chapter providing a different regional or digital focus. The book is unique in bringing ethnographic research on popular, folk and art musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. Praise for Music and Digital Media ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, University of Texas, Austin 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, University of Leeds ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, co-editor of Feral Atlas: The More-than-Human Anthropocene |
| degree in music technology: Choose the right A levels Ray Le Tarouilly, 2017-11-03 Selecting the right A levels is more important than ever in helping you shape your future path, whether through securing a place at your ideal university, or starting out on your chosen career. But with such a huge variety of subject options and combinations on offer, where do you begin and indeed what are the 'right' choices? In truth, what's 'right' is what's best for you, and any decisions you make about your future should therefore be informed and personal to you, to ensure you find the perfect match to suit your own individual interests, skills and learning style. Giving you all the knowledge you need at your fingertips to support you in making these important decisions, Choose the Right A levels is your one-stop source of practical information, answering key questions such as: What does the course outline look like and how is the subject assessed? What key skills does the subject draw on and develop? Which subjects are preferred or required for certain degree courses and careers? What will I need at GCSE to study the subject and how does the subject compare to GCSE? What subjects combine well together? This comprehensive and impartial guide also features comparative data on national pass rates for each subject, and insightful student case studies on what did and didn't work well for others. Written by an expert Careers Adviser, and laid out in a simple format for ease of use, this accessible guide is your essential aid to navigating the wide range of subject options available and making the best choices for you and your future. |
| degree in music technology: Pro Tools 8 Mike Collins, 2009 A new edition guide to the Pro Tools system for new and professional users, this book shows how to build the right system to suit your needs. Detailed chapters on recording, editing and mixing blend essential knowledge with tutorials and practical examples from actual recordings, featuring HD systems and Pro Tools 8 software. |
Music Technology - NYU Steinhardt
Taught by industry leaders and working professionals, students in Music Technology at NYU Steinhardt are …
BM, Music Technology - NYU Steinhardt
You will complete a range of liberal arts core courses, as well as core music classes in music history, music …
MM, Music Technology - NYU Steinhardt
Earn a master’s degree in Music Technology and pursue research and advanced skills in areas including …
Curriculum | BM, Music Technology | NYU Steinhardt
This 128-credit program offers a complete education in music, sound engineering, music production, …
BM/MM, Music Technology - NYU Steinhardt
Earn your bachelor of music and master of music in Music Technology in just five years. You can apply to the …
Music Technology - NYU Steinhardt
Taught by industry leaders and working professionals, students in Music Technology at NYU Steinhardt are prepared for careers in a range of fields, including sound engineering, …
BM, Music Technology - NYU Steinhardt
You will complete a range of liberal arts core courses, as well as core music classes in music history, music theory, aural comprehension, and keyboard harmony and improvisation. You will …
MM, Music Technology - NYU Steinhardt
Earn a master’s degree in Music Technology and pursue research and advanced skills in areas including sound recording, recorded music, music production, live sound, …
Curriculum | BM, Music Technology | NYU Steinhardt
This 128-credit program offers a complete education in music, sound engineering, music production, electronic music, and the liberal arts.
BM/MM, Music Technology - NYU Steinhardt
Earn your bachelor of music and master of music in Music Technology in just five years. You can apply to the dual degree in your sophomore year as an undergraduate at NYU Music …
