With Computational Thinking in Sound, veteran educators Gena R. Greher and Jesse M. Heines provide the first book ever written for music fundamentals educators which is devoted specifically to music, sound, and technology. The authors demonstrate how the range of mental tools in computer science - for example, analytical thought, system design, and problem design and solution - can be fruitfully applied to music education, including examples of successful student work. While technology instruction in music education has traditionally focused on teaching how computers and software work to produce music, Greher and Heines offer context: a clear understanding of how music technology can be structured around a set of learning challenges and tasks of the type common in computer science classrooms. Using a learner-centered approach that emphasizes project-based experiences, the book provides music educators with multiple strategies to explore, create, and solve problems with music and technology in equal parts. It also provides examples of hands-on activities which encourage students, alone and in interdisciplinary groups, to explore the basic principles that underlie today's music technology and which expose them to current multimedia development tools.

Technology has become increasingly integrated into our daily lives, receiving a great deal of attention as an educational tool with the potential to enhance, or even transform, student learning. Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required for educators to become adaptive experts with music technology; to be instructional designers capable of creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Most books about music and technology are technocentric, organized around specific technologies. Technological understanding is important and necessary for teachers, but research into educators' use of technology with students indicates that knowledge of the technology alone is insufficient. While some books have described teaching strategies and attempted to align the use of technologies with broader goals (standards), none of them have offered a coherent view of the interconnectedness of musical content, pedagogy, and technology. Grounded in the research and best practice literature, Music Learning Today makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. Its essential premise is that music educators and their students can benefit through use of technology as a tool to support learning in the three musical processes -creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students.

This book contains nine pieces from ABRSM's Grade 2 Cello syllabus for 2020-2023, three pieces chosen from each of Lists A, B and C. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information. Inspiring recordings of the nine pieces featured in this book, plus piano accompaniment tracks, are available. These can be purchased as part of the Cello Exam Pieces with CD package or as audio downloads (see https://shop.abrsm.org/audiodownloads for more details).

There is more to sound recording than just recording sound. Far from being simply a tool for the preservation of music, the technology is a catalyst. In this award-winning text, Mark Katz provides a wide-ranging, deeply informative, consistently entertaining history of recording's profound impact on the musical life of the past century, from Edison to the Internet. Fully revised and updated, this new edition adds coverage of mashups and Auto-Tune, explores recent developments in file-sharing, and includes an expanded conclusion and bibliography.

Unruly Media argues that we're on the crest of a new international, intermedial style in which sonic and visual parameters become heightened and accelerated. This audiovisual turn, driven by digital technologies and socioeconomic changes, calls for new forms of attention. Post-classical cinema, with its multi-plot narratives and flashy style, fragments under the influence of audiovisual numbers and music-video-like sync. Music video, after migrating to the web, becomes more than a way of selling songs. YouTube's brief and low-res clips encompass many forms, and foreground reiteration, graphic values and affective intensity. All three of these media are riven by one another: a trajectory from YouTube through music video to the new digital cinema reveals structural commonalities, especially in the realms of rhythm, texture and form. Music video, YouTube, and postclassical cinema remain undertheorized. This is the first book to account for the current audiovisual landscape across medium and platform-to try to characterize the audiovisual swirl. Unruly Media includes both new theoretical models and readings of numerous current multimedia works. It also includes several chapters devoted to the oeuvre of highly popular directors, their films, commercials and music videos. Unruly Media argues that attending equally to soundtrack and image can show how these media work, and the ways they both mirror and shape our modern experience.

Ableton Live - whose unique, groundbreaking, incredibly flexible features set it far apart from all other digital audio applications - is equally at home with making beats, remixing, live recording, DJing, live looping, sound design, electronic music, hip-hop, and much more. Unlike other books about Ableton Live that read like a second manual, this book walks you through all the features you need to make an actual track from start to finish. In addition to his over 20 years of making electronic music, certified Ableton trainer Jake Perrine has taught audio production for more than a decade, so not only does he know what he's talking about, but he knows how to make sure you know what he's talking about! Whether you want to DJ, make mash-ups and remixes, play with a band, or build epic dance anthems from scratch, Perrine provides all the hands-on, expert guidance you need for using Ableton Live 9. The accompanying DVD-ROM contains audio content keyed to the Ableton Live exercises in the text and session files, so you can actually both hear and see how many of the features actually work. A substantial appendix section offers discussions of important non-Ableton-specific topics, including digital audio basics, components of a producer's studio, considerations when buying a DAW computer, and more.

Beyond Sound: The College and Career Guide in Music Technology is a must-read for anyone who loves music technology and wants to build a career in this competitive, fast-paced and exciting world. It is an outstanding resource for college and high school students, high school career centers, university placement centers, and libraries. Beyond Sound reflects on major technological advancements in recent history and explains why now is the ideal time to start a music technology career. An in-depth consideration of music technology education looks at over 200 schools that offer Music Technology, Music Recording, Music Industry, and Music Business programs. Beyond Sound considers the differences between BM, BS, BA, and BFA degrees as well as Graduate School, Trade School, and Art school programs. The reader is given the tools to research and make informed decisions about where to go to pursue their own formal music technology education. Beyond Sound 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 the business. Music technology jobs in recording, live sound, television and film, digital media, video games, retail sales, and education are described in great depth and clarity. Successful professionals in each of these fields share their stories, experiences, advice, and suggestions in candid interviews that provide the reader with a rare glimpse inside the professional world of music technology. Author Scott L. Phillips draws on his seventeen-year career as a technology trainer and educator, his scholarly research of music technology programs, and his extensive network of music technology professionals to bring the reader an intimate and accurate view of the exciting world of music technology. With this book, the aspiring music technologist will be able to learn about, prepare for, and begin a successful career that goes far Beyond Sound.

If you ve ever handled live sound, you know the recipe for creating quality live sound requires many steps. Your list of ingredients, shall we say, requires an understanding of sound and how it behaves, the know-how to effectively use a sound system), and the knowledge to choose and use your gear well. Add a dash of miking ability, stir in a pinch of thinking on your feet for when your system starts to hum or the vocals start to feed back, and mix.

In practice, there really is no "recipe" for creating a quality performance. Instead, musicians and engineers who effectively use sound systems have a wealth of knowledge that informs their every move before and during a live performance. You can slowly gather that knowledge over years of live performance, or you can speed up the process with "The SOS Guide to Live Sound."

With these pages, you get practical advice that will allow you to accomplish your live-sound goals in every performance. Learn how to choose, set up, and use a live-performance sound system. Get the basics of live-sound mixing, save money by treating your gear well with a crash course in maintenance, and fix issues as they happen with a section on problem-solving, full of real-world situations. You ll also get information on stage-monitoring, both conventional and in-ear, along with the fundamentals of radio microphones and wireless mixing solutions. Finally, a comprehensive glossary of terminology rounds out this must-have reference."

Why don't Guitar Hero players just pick up real guitars? What happens when millions of people play the role of a young black gang member in Grand Theft Auto: San Andreas? How are YouTube-based music lessons changing the nature of amateur musicianship? This book is about play, performance, and participatory culture in the digital age. Miller shows how video games and social media are bridging virtual and visceral experience, creating dispersed communities who forge meaningful connections by "playing along" with popular culture. Playing Along reveals how digital media are brought to bear in the transmission of embodied knowledge: how a Grand Theft Auto player uses a virtual radio to hear with her avatar's ears; how a Guitar Hero player channels the experience of a live rock performer; and how a beginning guitar student translates a two-dimensional, pre-recorded online music lesson into three-dimensional physical practice and an intimate relationship with a distant teacher. Through a series of engaging ethnographic case studies, Miller demonstrates that our everyday experiences with interactive digital media are gradually transforming our understanding of musicality, creativity, play, and participation.

Emphasising the creative aspect of music technology, this introduction sets out an overview of the field for music students in a non-scientific and straightforward way. Engaging and user-friendly, the book covers studio concepts: basic audio and the studio workflow, including audio and MIDI recording. It explores synthesisers, samplers and drum machines as well as basic concepts for electronic performance. In considering the role of the DJ, the book addresses remixing and production, drawing upon many examples from the popular music repertoire as well as looking at the studio as an experimental laboratory. The creative workflow involved in music for media is discussed, as well as controllers for performance and the basics of hacking electronics for music. The book as a whole reflects the many exciting areas found today in music technology and aims to set aspiring musicians off on a journey of discovery in electronic music.

The Oxford Handbook of Computer Music offers a state-of-the-art cross-section of the most field-defining topics and debates in computer music today. A unique contribution to the field, it situates computer music in the broad context of its creation and performance across the range of issues - from music cognition to pedagogy to sociocultural topics - that shape contemporary discourse in the field.
Fifty years after musical tones were produced on a computer for the first time, developments in laptop computing have brought computer music within reach of all listeners and composers. Production and distribution of computer music have grown tremendously as a result, and the time is right for this survey of computer music in its cultural contexts. An impressive and international array of music creators and academics discuss computer music's history, present, and future with a wide perspective, including composition, improvisation, interactive performance, spatialization, sound synthesis, sonification, and modeling. Throughout, they merge practice with theory to offer a fascinating look into computer music's possibilities and enduring appeal.

Unleash your iPod touch and take it to the limit using secret tips and techniques. Fast and fun to read, Taking Your iPod touch 5 to the Max will help you get the most out of iOS 5 on your iPod touch. You'll find all the best undocumented tricks, as well as the most efficient and enjoyable introduction to the iPod touch available. Starting with the basics, you'll quickly move on to discover the iPod touch's hidden potential, like how to connect to a TV and get contract-free VoIP. From e-mail and surfing the Web, to using iTunes, iBooks, games, photos, ripping DVDs and getting free VoIP with Skype or FaceTime--whether you have a new iPod touch, or an older iPod touch with iOS 5, you'll find it all in this book. You'll even learn tips on where to get the best and cheapest iPod touch accessories. Get ready to take iPod touch to the max What you'll learn * How to get your music, videos, and data onto your iPod touch * How to manage your media * Tips for shopping in the App Store and iTunes Store * Getting the most out of iBooks * Using Mail on your iPod touch * Keeping in touch with FaceTime Who this book is for Anyone who wants to get the most out of their iPod touch 5.Table of Contents * Bringing Home the iPod touch * Putting Your Data and Media on the iPod touch * Interacting with Your iPod touch * Browsing with Wi-fi and Safari * Touching Photos and Videos * Touching Your Music * Shopping at the iTunes Store * Shopping at the App Store * Reading and Buying Books with iBooks * Setting Up and Using Mail * Staying on Time and Getting There * Using your Desk Set * Photographing and Recording the World Around You * Video Calling with FaceTime * Customizing Your iPod touch

Sound and statuary have had a complicated relationship in Western aesthetic thought since antiquity. Taking as its focus the sounding statue-a type of anthropocentric statue that invites the viewer to imagine sounds the statue might make-The Sculpted Ear rethinks this relationship in light of discourses on aurality emerging within the field of sound studies. Ryan McCormack argues that the sounding statue is best thought of not as an aesthetic object but as an event heard by people and subsequently conceptualized into being through acts of writing and performance. Constructing a history in which hearing plays an integral role in ideas about anthropocentric statuary, McCormack begins with the ancient sculpture of Laocooen before moving to a discussion of the early modern automaton known as Tipu's Tiger and the statue of the Commendatore in Mozart's Don Giovanni. Finally, he examines statues of people from the present and the past, including the singer Josephine Baker, the violinist Aleksandar Nikolov, and the actor Bob Newhart-with each case touching on some of the issues that have historically plagued the aesthetic viability of the sounding statue. McCormack convincingly demonstrates how sounding statues have served as important precursors and continuing contributors to modern ideas about the ontology of sound, technologies of sound reproduction, and performance practices blurring traditional divides between music, sculpture, and the other arts. A compelling narrative that illuminates the stories of individual sculptural objects and the audiences that hear them, this book will appeal to anyone interested in the connections between aurality and statues in the Western world, in particular scholars and students of sound studies and sensory history.

Research in the area of recorded music is becoming increasingly diverse. Contributions from a variety of fields, including music performance, composition and production, cultural studies and philosophy, are drawn together here, for the contrasting perspectives they bring to a range of music genres. Discourses in jazz, ethnomusicology and popular music - whose histories and practices have evolved principally from recordings - are presented alongside those of Western classical music, where analysis of recordings is a relatively recent development. Different methodologies have evolved in each of these subdisciplines where recordings have been contextualised variously as tools, texts, or processes, reflective of social practices. This book promotes the sharing of such differences of approach. Attitudes of performers are considered alongside developments in technology, changing listening practices, and social contexts, to explore the ways in which recordings influence the study of music performance and the nature of musical experience.

Rock 'n' roll was born in rural Alabama, 1923, in the form of Sam Phillips, the youngest son of a large family living in a remote colony called the Lovelace Community. His father had a gift for farming, which was brought to an end by the Depression. His mother picked guitar and showed the kind of forbearance that allowed her to name her son after the doctor who delivered him drunk and then had to be put to bed himself. And yet from these unprepossessing origins, in 1951 Phillips made what is widely considered to be the first rock 'n' roll record, Ike Turner and Jackie Brenston's 'Rocket 88'. Just two years later a shy eighteen-year-old kid with sideburns, fresh out of high school, wandered into his recording studio to make a record 'for his mother', secretly hoping that it might somehow get him noticed. His name was Elvis Presley. Elvis's success, and the subsequent triumph of rock 'n' roll, was initially propelled to an almost astonishing degree by a limited number of releases by Carl 'Blue Suede Shoes' Perkins, Johnny Cash and Jerry Lee Lewis - all from this tiny, one-man label. An engaging mix of biography and anecdote, Peter Guralnick's book brilliantly recreates one shining moment in the history of popular culture. And Sam Phillips was the man who brought it all about.

With Thomas Edison's invention of the phonograph, the beautiful music that was the preserve of the wealthy became a mass-produced consumer good, cheap enough to be available to all. In 1877 Edison dreamed that one day there would be a talking machine in every home. America on Record: A History of Recorded Sound, first published in 2006, provides a history of sound recording from the first thin sheet of tinfoil that was manipulated into retaining sound to the home recordings of rappers in the 1980s and the high-tech studios of the 1990s. This book examines the important technical developments of acoustic, electric, and digital sound reproduction while outlining the cultural impact of recorded music and movies. This second edition updates the story, describing the digital revolution of sound recording with the rise of computers, Napster, DVD, MP3, and iPod.

With Thomas Edison's invention of the phonograph, the beautiful music that was the preserve of the wealthy became a mass-produced consumer good, cheap enough to be available to all. In 1877 Edison dreamed that one day there would be a talking machine in every home. America on Record: A History of Recorded Sound, first published in 2006, provides a history of sound recording from the first thin sheet of tinfoil that was manipulated into retaining sound to the home recordings of rappers in the 1980s and the high-tech studios of the 1990s. This book examines the important technical developments of acoustic, electric, and digital sound reproduction while outlining the cultural impact of recorded music and movies. This second edition updates the story, describing the digital revolution of sound recording with the rise of computers, Napster, DVD, MP3, and iPod.

Until recently, early recordings were regarded as little more than old-fashioned curiosities. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performances of Elgar, Rachmaninoff, Stravinsky, and other composers, and of the musicians with whom they worked. In a more general way, recordings reveal the detailed performance practice of the early twentieth century and illustrate how styles have changed over the years. Early recordings also shed new light on nineteenth-century performance, but at the same time they highlight the limitations of our attempts to recreate the styles of the period before the development of recording. In this fascinating and detailed study, Robert Philip argues that recordings of the early twentieth century provide an important, and hitherto neglected, resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century: rhythm, including flexibility of tempo, rubato, and the treatment of rhythmic detail; the use of vibrato; and the employment of portamento by stringplayers. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past. The book contains information tables, music examples, and a discography and will be of interest to scholars and students of music history and performance practice as well as to musicians and collectors of historical recordings.

Cutting-edge perspectives on a hot topic, with few competing titles on the market Contributor list includes some very well known professionals, as well as diverse academics from different disciplines Accessible and interdisciplinary introductory volume

With this all-in-one manual, students and teachers have an easy-to-read reference that provides a reliable and current rundown of the world of sound production, from planning a recording session to mastering the final product. Organized by four main topics - pre-production, recording various instruments, mixing theories and tools, and mastering - Audio Production Principles follows the actual flow of instruction given over the course of a student's tenure. Chapters address etiquette and basic operations for any recording session written in useful, tutorial style language, providing guidelines for beginner audio engineers on topics including pre-production, equipment selection, and mixing tips by instrument. Jumpstarting the mastering process, lessons delve into features unique to specific tools and techniques. All sections offer instructional scenarios of studio setups, asking students to brainstorm the best production technique for each situation. These exercises also help teachers generate new ideas for instruction and production projects of their own.

Inflated egos. Corporate insanity. Slave labour. Sexual excess. Dazzling genius. Welcome to the world of classical recording. Maestros, Masterpieces and Madness is a sparkling expose of the strange truth and sheer brilliance behind the classical music recording industry. Leading music critic Norman Lebrecht charts its rise since the great Caruso's first gramophone bestseller of 1902 and predicts the industry's imminent doom in the face of schmaltzy crossover albums and new technology. From the imperious Karajan to the perfectionist Toscanini and charismatic Bernstein, the leading figures are all here, depicted in witty, incisive pen portraits. Including Lebrecht's own selections of 100 recorded masterpieces and twenty that should never have been made, this is a compelling story of flamboyant maestros, lifelong alliances, disastrous personality clashes and entrepreneurial masterstrokes.

The Recording, Mixing, and Mastering Reference Handbook provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument. In six sections, lessons give a comprehensive introduction to microphone settings and techniques, audio processing and effects, controlling acoustics, and history lessons on songs recorded with a given technique. The second half of the handbook delves into background theory on microphones, EQ-filters, compressors, and acoustics to give the reader a general understanding of practical recording techniques before acquiring deeper comprehension of the tools and the recording processes. Throughout the chapters, lessons on recording methods gradually build complexity and detail to keep readers engaged and challenged. Whether a university student in an audio recording course, a novice audio engineer who needs to build technique, or a busy professional who requires a quick refresh on specific techniques, any reader will find an essential resource in The Recording, Mixing, and Mastering Reference Handbook.