Based on educational theory, and on recognized music teaching methods, Theory and Practice of Technology-Based Music Instruction develops a framework for examining music teaching that uses technology to introduce, reinforce, and assess skills and concepts. The framework guides in-depth discussions about theoretical and philosophical foundations of technology-based music instruction (TBMI), materials for teaching, teaching behaviors, and assessment of student work, teacher work, and fit of technology into the music program. The book includes examples of TBMI lessons from real teachers, and analyses of the successful and developing parts of these lessons. Also included are Profiles of Practice: firsthand accounts of music teachers using technology in their classrooms based on the author's observations, and the teachers' own reflections on their work. Because TBMI is situated in the world of public education, issues of accountability and standards are addressed. Also included are recommendations for professional development in technology based music instruction. Finally, the text looks to the future to discuss emerging technologies, alternative ensembles, and social issues that may impact technology based music instruction in years to come.

Go beyond HTML5's Audio tag and boost the audio capabilities of your web application with the Web Audio API. Packed with lots of code examples, crisp descriptions, and useful illustrations, this concise guide shows you how to use this JavaScript API to make the sounds and music of your games and interactive applications come alive. You need little or no digital audio expertise to get started. Author Boris Smus introduces you to digital audio concepts, then shows you how the Web Audio API solves specific application audio problems. You'll not only learn how to synthesize and process digital audio, you'll also explore audio analysis and visualization with this API. Learn Web Audio API, including audio graphs and the audio nodes Provide quick feedback to user actions by scheduling sounds with the API's precise timing model Control gain, volume, and loudness, and dive into clipping and crossfading Understand pitch and frequency: use tools to manipulate soundforms directly with JavaScript Generate synthetic sound effects and learn how to spatialize sound in 3D space Use Web Audio API with the Audio tag, getUserMedia, and the Page Visibility API

Richard James Burgess draws on his experience as a producer, a musician, and an author in this history of recorded music, which focuses on the development of music production as both art form and profession. This comprehensive narrative begins in 1860 with the first known recording of an acoustic sound and moves chronologically through the twentieth century, examining the creation of the market for recorded sound, the development of payment structures, the origins of the recording studio and those who work there, and, ultimately, the evolution of the recording industry itself. Burgess charts the highs and lows of the industry through the decades, ending with a discussion of how Web 2.0 has affected music production. The focus remains throughout the book on the role of the music producer, and Burgess offers biographical information on key figures in the history of the industry, including Fred Gaisberg, Phil Spector, and Dr. Dre. Undergirding Burgess's narrative is the argument that while technology has historically defined the nature of music production, the drive toward greater control over the process, end result, and overall artistry came from producers. In keeping with this unique argument, The History of Music Production incorporates clear yet in-depth discussion of the developmental engagement of technology, business, and art with music production. Burgess builds this history of music production upon the strongest possible foundation: the key transitions, trends, people, and innovations that have been most important in the course of its development over the past 136 years. The result is a deeply knowledgeable book that sketches a critical path in the evolution of music production, and describes and analyzes the impact recording, playback, and disseminative technologies have had on recorded music and music production. Central to the field and a key reference book for students and scholars alike, it will stand as a companion volume to Burgess's noted, multi-edition book The Art of Music Production.

Jerome Hines has interviewed 40 singers, a speech therapist, and a throat specialist to provide this invaluable collection of advice for all singers. This collection includes the commentary of Licia Albanese, Franco Corelli, Placido Domingo, Nicolai Gedda, Marilyn Horne, Sherrill Milnes, Birgit Nilsson, Luciano Pavarotti, Rose Ponselle, Beverly Sills, Joan Sutherland and many others. "Probably the best book on the subject." Publishers Weekly

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.

The MIDI Manual is a complete reference on MIDI, written by a well-respected sound engineer and author. This best-selling guide provides a clear explanation of what MIDI is, how to use electronic instruments and an explanation of sequencers and how to use them. You will learn how to set up an efficient MIDI system and how to get the best out of your music.
The MIDI Manual is packed full of useful tips and practical examples on sequencing and mixing techniques. It also covers editors/librarians, working with a score, MIDI in mass media and multimedia and synchronisation. The MIDI spec is set out in detail along with the helpful guidelines on using the implementation chart.
Illustrated throughout with helpful photos and screengrabs, this is the most readable and clear book on MIDI available.
* Complete illustrated guide to the MIDI spec and explanation of the implementation chart
* Practical advice on sampling and sequencing, covering all the major DAWs
* Includes all the latest developments in hardware and software

Sound Inventions is a collection of 34 articles taken from Experimental Musical Instruments, the seminal journal published from 1984 through 1999. In addition to the selected articles, the editors have contributed introductory essays, placing the material in cultural and temporal context, providing an overview of the field both before and after the time of original publication. The Experimental Musical Instruments journal contributed extensively to a number of sub-fields, including sound sculpture and sound art, sound design, tuning theory, musical instrument acoustics, timbre and timbral perception, musical instrument construction and materials, pedagogy, and contemporary performance and composition. This book provides a picture of this important early period, presenting a wealth of material that is as valuable and relevant today as it was when first published, making it essential reading for anyone researching, working with or studying sound.

Mixing and mastering, the two final steps in the complex process of sound engineering, require both artistic finesse and technical facility. Even the slightest difference in the way a sound is processed can lead to a shift in the overall aesthetic of a piece, and so sound engineers must work towards an understanding of sound engineering that is particularly oriented towards the artistic and aesthetic. In order to create effective mixes, a sound engineer must maintain a distinct set of artistic goals while drawing on an in-depth understanding of the software involved in the process. Creating final masters requires specialized aural skills and a similarly advanced understanding of the software in order to fine-tune the product with respect to these goals. Mixing and Mastering in the Box addresses the practical and technological necessities of these two final steps without neglecting the creative process that is integral to the creation of high-quality recordings. Savage focuses primarily on creating mixes and masters in the Digital Audio Workstation (DAW), or "in the box," currently a popular platform in the field of sound engineering due to the creative advantages and advanced technological capabilities it offers to its users. However, much of the information presented in Mixing and Mastering in the Box is also applicable to analog mixing gear or a hybrid system of digital and analog tools. This book, which features over one hundred illustrations and a comprehensive companion website, is ideal for beginning or intermediate students in sound engineering with a focus on DAW, recording artists who do their own mixing and mastering, or musicians who wish to be better informed when collaborating on mixes and masters.

Now in its fourth edition, The Art of Music Production has established itself as the definitive guide to the art and business of music production and a primary teaching tool for college programs. It is the first book to comprehensively analyze and describe the non-technical role of the music producer. Author Richard James Burgess lays out the complex field of music production by defining the several distinct roles that fall under the rubric of music producer. In this completely updated and revised fourth edition of a book already lauded as "the most comprehensive guide to record production ever published," Burgess has expanded and refined the types of producers, bringing them fully up to date. The first part of the book outlines the underlying theory of the art of music production. The second part focuses on the practical aspects of the job including training, getting into the business, day-to-day responsibilities, potential earnings, managers, lawyers, and - most importantly - the musical, financial, and interpersonal relationships producers have with artists and their labels. The book is packed with insights from the most successful music producers ranging from today's chart-toppers to the beginnings of recorded sound, including mainstream and many niche genres. The book also features many revealing anecdotes about the business, including the stars and the challenges (from daily to career-related) a producer faces. Burgess addresses the changes in the nature of music production that have been brought about by technology and, in particular, the paradigmatic millennial shift that has occurred with digital recording and distribution. Burgess's lifelong experience in the recording industry as a studio musician, artist, producer, manager, and marketer combined with his extensive academic research in the field brings a unique breadth and depth of understanding to the topic.

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.

How the Chinese pop of the 1960s participated in a global musical revolution What did Mao’s China have to do with the music of youth revolt in the 1960s? And how did the mambo, the Beatles, and Bob Dylan sound on the front lines of the Cold War in Asia? In Circuit Listening, Andrew F. Jones listens in on the 1960s beyond the West, and suggests how transistor technology, decolonization, and the Green Revolution transformed the sound of music around the globe. Focusing on the introduction of the transistor in revolutionary China and its Cold War counterpart in Taiwan, Circuit Listening reveals the hidden parallels between music as seemingly disparate as rock and roll and Maoist anthems. It offers groundbreaking studies of Mandarin diva Grace Chang and the Taiwanese folk troubadour Chen Da, examines how revolutionary aphorisms from the Little Red Book parallel the Beatles’ “Revolution,� uncovers how U.S. military installations came to serve as a conduit for the dissemination of Anglophone pop music into East Asia, and shows how consumer electronics helped the pop idol Teresa Teng bring the Maoist era to a close, remaking the contemporary Chinese soundscape forever. Circuit Listening provides a multifaceted history of Chinese-language popular music and media at midcentury. It profiles a number of the most famous and best loved Chinese singers and cinematic icons, and places those figures in a larger geopolitical and technological context.  Circuit Listening’s original research and far-reaching ideas make for an unprecedented look at the role Chinese music played in the ’60s pop musical revolution.

Making quality moving pictures has never been easier or more affordable, and the proliferation and ease of access to digital recording devices has prompted scores of amateurs to record and post videos to YouTube and the like. Paradoxically, however, scoring and arranging music for motion pictures is, in many ways, more complicated now than ever before, requiring extensive knowledge of notation, arranging, recording, and mixing software and multi-component DAW workstations. In Composing for Moving Pictures: The Essential Guide, author Jason Gaines offers practical tools with which to navigate the increasingly complex environment of movie music composition. He addresses both the principles of composition for moving pictures and the technologies which drive music composition, performance, and recording in an integrated and comprehensive fashion. The guide takes readers from square one - how technology can facilitate, rather than hinder, creativity in scoring - and then moves into the basics of working with MIDI files and on to more advanced concepts such as arranging, mixing, and integrating surround sound. Gaines illustrates each step of the process with screen shots and explanations in the form of program tutorials. Later chapters offer tips on budgeting out studio sessions, hiring music copyists, and presenting one's work to (and negotiating contracts with) clients. A section of appendices includes a glossary, a guide to keyboard shortcuts, and references to official software program documentation, as well as interviews with industry veterans. Composing for Moving Pictures fills a hole in literature on film scoring in the digital age and will prove to be an invaluable resource for music educators at the university and secondary level. Amateur composers will also delight in this easy-to-use guidebook.

Refining Sound is a practical roadmap to the complexities of creating sounds on modern synthesizers. As author, veteran synthesizer instructor Brian K. Shepard draws on his years of experience in synthesizer pedagogy in order to peel back the often-mysterious layers of sound synthesis one-by-one. The result is a book which allows readers to familiarize themselves with each individual step in the synthesis process, in turn empowering them in their own creative or experimental work. The book follows the stages of synthesis in chronological progression, starting readers at the raw materials of sound creation and ultimately bringing them to the final "polishing" stage. Each chapter focuses on a particular aspect of the synthesis process, culminating in a last chapter that brings everything together as the reader creates his/her own complex sounds. Throughout the text, the material is supported by copious examples and illustrations as well as by audio files and synthesis demonstrations on a related companion website. Each chapter contains easily digestible guided projects (entitled "Your Turn" sections) that focus on the topics of the corresponding chapter. In addition to this, one complete project will be carried through each chapter of the book cumulatively, allowing the reader to follow - and build - a sound from start to finish. The final chapter includes several sound creation projects in which readers are given types of sound to create as well as some suggestions and tips, with final outcomes is left to readers' own creativity. Perhaps the most difficult aspect of learning to create sounds on a synthesizer is to understand exactly what each synthesizer component does independent of the synthesizer's numerous other components. Not only does this book thoroughly illustrate and explain these individual components, but it also offers numerous practical demonstrations and exercises that allow the reader to experiment with and understand these elements without the distraction of the other controls and modifiers. Refining Sound is essential for all electronic musicians from amateur to professional levels of accomplishment, students, teachers, libraries, and anyone interested in creating sounds on a synthesizer.

An introduction to the concepts and principles of sound design practice, with more than 175 exercises that teach readers to put theory into practice.This book offers an introduction to the principles and concepts of sound design practice, from technical aspects of sound effects to the creative use of sound in storytelling. Most books on sound design focus on sound for the moving image. Studying Sound is unique in its exploration of sound on its own as a medium and rhetorical device. It includes more than 175 exercises that enable readers to put theory into practice as they progress through the chapters. The book begins with an examination of the distinction between hearing and listening (with exercises to train the ears) and then offers an overview of sound as an acoustic phenomenon. It introduces recording sound, covering basic recording accessories as well as theories about recording and perception; explores such spatial effects as reverberation and echo; and surveys other common digital sound effects, including tremolo, vibrato, and distortion. It introduces the theory and practice of mixing; explains surround and spatial sound; and considers sound and meaning, discussing ideas from semiotics and psychology. Finally, drawing on material presented in the preceding chapters, the book explores in detail using sound to support story, with examples from radio plays, audio dramas, and podcasts. Studying Sound is suitable for classroom use or independent study.

An updated edition of the most comprehensive account of the Rolling Stones' work yet published, with the full story of every recording session, every album, and every single released during their nearly 60 year career. The Rolling Stones have been recording and touring since 1963, selling more than 200 million records worldwide. While much is known about this iconic group, few books provide a comprehensive history of their time in the studio. In The Rolling Stones All the Songs, authors Margotin and Guesdon describe the origin of every song the band has released, details from the recording studio, what instruments were used, and behind-the-scenes stories of the great artists who contributed to their tracks. Organized chronologically by album, this massive, 760-page hardcover begins with their 1963 eponymous debut album recorded over five days at the Regent Studio in London; through their collaboration with legendary producer Jimmy Miller in the ground-breaking albums from 1968 to 1973; to their later work with Don Was, who has produced every album since Voodoo Lounge. Packed with more than 500 photos, All the Songs is also filled with stories fans treasure, such as how the mobile studio the group pioneered was featured in Deep Purple's classic song "Smoke on the Water" or how Keith Richards used a cassette recording of an acoustic guitar to get the unique riff on "Street Fighting Man."

Off the Record is a revealing exploration of piano performing practices of the high Romantic era. Author and well-known keyboard player Neal Peres Da Costa bases his investigation on a range of early sound recordings (acoustic, piano roll and electric) that capture a generation of highly-esteemed pianists trained as far back as the mid-nineteenth-century. Placing general practices of late nineteenth-century piano performance alongside evidence of the stylistic idiosyncrasies of legendary pianists such as Carl Reinecke (1824-1910), Theodor Leschetizky (1830-1915), Camille Saint-Saens (1838-1921) and Johannes Brahms (1833-1897), he examines prevalent techniques of the time--dislocation, unnotated arpeggiation, rhythmic alteration, tempo fluctuation--and unfolds the background and lineage of significant performer/pedagogues. Throughout, Peres Da Costa demonstrates that these early recordings do not simply capture the idiosyncrasies of aging musicians as has been commonly asserted, but in fact represent a range of established expressive practices of a lost age.
An extensive collection of these fascinating and sometimes rare professional recordings of the Romantic age masters are available on a companion web site, and in addition, Peres Da Costa, himself a renowned period keyboardist, illustrates points made throughout the book with his own playing. Of essential value to student and professional pianists, historical musicologists of 19th and early 20th century performance practice, and also to the general music aficionado audience, Off the Record is an indispensable resource for scholarly research, performance inspiration, and listening enjoyment."

Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the "digital music commodity," Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies - Winamp, metadata, Napster, iTunes, and cloud computing - this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music, Formatting Culture is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.

In an easy-to-grasp, holistic manner "Mastering Audio: The Art and the Science, Third Edition "unravels the technical mysteries that regularly challenge audio engineers. Including practical tips and real world experiences, Bob Katz explains the technical detail of the subject in his informative and humorous style. Completely reorganized to focus on workflow, this third edition details mastering by providing a step-by-step approach to the process. First covering practical techniques and basic theory, this industry classic" "also addresses advanced theory and practice. The book s new approach is especially suitable to accompany a one- or two-term course in audio and mastering.

Completely rewritten and organized to address changes that will continue to influence the audio world, this third edition includes several new chapters addressing the influence of loudness measurement and assessment and provides explanation of how mastering engineers must integrate loudness measurement and PLR assessment in their mastering techniques.

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Mastering Audio: The Art and the Science, Third Edition" also includes the newest approaches to equalization, monitor response measurement and correction, the psychoacoustics of clipping, an extended discussion of restoration and noise reduction techniques, an extended set of listening examples, and an updated chapter on surround mastering including coverage of Pure Audio BluRay.

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In Sonic Virtuality: Sound as Emergent Perception, authors Mark Grimshaw and Tom Garner introduce a novel theory that positions sound within a framework of virtuality. Arguing against the acoustic or standard definition of sound as a sound wave, the book builds a case for a sonic aggregate as the virtual cloud of potentials created by perceived sound. The authors build on their recent work investigating the nature and perception of sound as used in computer games and virtual environments, and put forward a unique argument that sound is a fundamentally virtual phenomenon. Grimshaw and Garner propose a new, fuller and more complete, definition of sound based on a perceptual view of sound that accounts more fully for cognition, emotion, and the wider environment. The missing facet is the virtuality: the idea that all sound arises from a sonic aggregate made up of actual and virtual sonic phenomena. The latter is a potential that depends upon human cognition and emotion for its realization as sound. This thesis is explored through a number of philosophical, cognitive, and psychological concepts including: issues of space, self, sonosemantics, the uncanny, hyper-realism, affect, Gettier problems, belief, alief, imagination, and sound perception in the absence of sound sensation. Provocative and original, Grimshaw and Garner's ideas have broader implications for our relationship to technology, our increasingly digital lives, and the nature of our being within our supposed realities. Students and academics from philosophy to acoustics and across the broad spectrum of digital humanities will find this accessible book full of challenging concepts and provocative ideas.

The Blackbird Academy Foundations: Must-Know Audio and Recording Principles is designed to build your music engineering and audio production skills. The principles are directed at beginners to more advanced music creators, remixers, musicians, songwriters, singers, and those curious about what it takes to record, overdub, and mix quality music. Those who aspire to music, from ages 10 and up, will gain operational skills and understanding of basic to advanced recording concepts including: Signal flow Microphone recognition and advanced placement The keys to achieving great results when recording Essential analog and digital gear used in audio production Using a digital audio workstation Understanding analog to digital, and digital to analog, conversion Using plug-ins and analog processing when recording, overdubbing, and mixing Developing software skills, such as tuning processing, editing, and mixing Console basics and operation Using auxiliary tracks and buses Using shortcuts to build speed Learning how to listen And much more! Those more advanced will also achieve benefits from reading what was written around the gear and workflow at Blackbird Studio, the world-renowned production facility located in Nashville, Tennessee. Blackbird has produced hundreds of hit records from a variety of artists, including Taylor Swift, Jack White, Martina McBride, The Black Keys, Kings of Leon, Keith Urban, Tim McGraw, and many more. Readers will learn an impressive range of valuable information only known in the inner circles of production at the heart of Music City USA.

The Musician's Guide to iMovie for iPad features Apple's iMovie app, the perfect app to delve into the basics of video production. You will be guided step-by-step through the process of creating high-quality videos using iMovie for iOS. The book, along with the companion videos, will quickly get you up and running creating, editing, and sharing your own videos. Topics include importing video, pictures and audio clips, creating a movie trailer, exporting videos to sharing sites such as YouTube, Facebook, and Vimeo. Also included is information for purchasing and using add-ons such as microphones, stands, lighting, video storage options and more. You will explore options for using other devices to function as cameras such as Smartphones, GoPro, and other camera apps. Requires iOS 9.3 or later. Compatible with iPhone, iPad, and iPod touch. iMovie app version 2.2.4 and later. * You will learn best practices for creating quality videos using only your iPad and iMovie in both natural and artificial lighting * Enhance your movies with slow motion, fast forward, picture-in-picture, and split-screen effects * Customize movie studio logos, cast names, and credits * Create a trailer and choose from eight unique video themes with matching titles, transitions, and music * Save videos and iMovie project files to iCloud Drive * AirPlay to wirelessly stream video to your HDTV with Apple TV

In this rich study of noise in American film-going culture, Meredith C. Ward shows how aurality can reveal important fissures in American motion picture history, enabling certain types of listening cultures to form across time. Connecting this history of noise in the cinema to a greater sonic culture, Static in the System shows how cinema sound was networked into a broader constellation of factors that affected social power, gender, sexuality, class, the built environment, and industry, and how these factors in turn came to fruition in cinema's soundscape. Focusing on theories of power as they manifest in noise, the history of noise in electro-acoustics with the coming of film sound, architectural acoustics as they were manipulated in cinema theaters, and the role of the urban environment in affecting mobile listening and the avoidance of noise, Ward analyzes the powerful relationship between aural cultural history and cinema's sound theory, proving that noise can become a powerful historiographic tool for the film historian.