Digital Music Technologies Research Articles

Caring for our planet: a world apart or same difference? A global music collaboration

PurposeThe impact and collective threat of climate change is of key concern to all. Music and arts education can play a role by responding to the ongoing climate crisis through the creation of artworks as activism. This paper discusses a collaborative online international music project and its potential contribution to sustainable development education.Design/methodology/approach 10,427 miles and 11 hours apart, music education students undertook the project, working in groups with a mix of students from Aberdeen, Scotland and Melbourne, Australia in each group. Each student collected video footage that captured their experience of climate concerns related to their environment. Students combined and edited the footage then collaboratively composed music to accompany the footage. This research was conceived as a collaborative self-study project undertaken by the authors as music teacher educators.FindingsThe results show a range of musical and extra musical outcomes and challenges. Evidence suggests that a collaborative online international music learning experience may contribute to sustainable development education and regenerative practice more broadly. Students began to develop their practice as educators for school and community contexts embedding learning for sustainability and climate consciousness, thus enabling them to develop as active global citizens.Originality/valueThis paper argues for greater attention to the affordances of digital collaborative music technology tools to facilitate creative projects as well as the need to reimagine musical experience, drawing together strands of music, sustainability education, technology and global citizenship. This paper also argues for the importance of embedding the UN Sustainable Development Goals in teaching and learning in Higher Education.

Compositional music therapy: A systematic review of clinical trials

Purpose: Compositional music therapy involves the creation of original music by the therapist, the patient/client, or both together. The purpose of this systematic review is to examine techniques of compositional music therapy and the evidence for its therapeutic uses. Methods: PRISMA guidelines were followed in performing this systematic review. Studies published in the last 25 years from January 1998 to December 2023 were identified through the use of the PubMed, PsycInfo, and Google Scholar databases, using the following keywords: Musi*, AND Therap*, AND Compos*. Two authors independently conducted a focused analysis and reached a final consensus on nine studies that met the specific selection criteria and passed the study quality checks. Results: Review yielded four key compositional music therapy techniques: songwriting, lyric analysis, instrumental composition, and therapeutic rap and singing. Eight out of the nine studies showed positive results for compositional music therapy. These techniques were associated with reduction in anxiety levels and an enhancement of positive affective states, the development of coping strategies, and improvement of emotional regulation. Conclusion: This review shows a body of positive evidence for compositional music therapy, highlighting its potential to foster psychological and physiological well-being across various demographics, especially in terms of coping strategies and emotion regulation. Future directions include the use of digital music technology for composition in music therapy.

Advancing computer science in education: integrating digital music technology into elementary school music programs

Advancing computer science in education: integrating digital music technology into elementary school music programs

Rancangan Instrumen Virtual Kendang Sunda Menggunakan Kontakt Sebagai Media Kreativitas Musik Digital

Purpose: The purpose of this research is to reveal the process of designing a virtual instrument for Sundanese drumming, starting from practical studies to its realization as a market-ready design. The influence of the development of digital music technology has led to various inventions in the form of virtual instruments. As part of the preservation and development of local culture-based music, it is necessary to create virtual musical instruments, including Sundanese drums. The problem that occurs today is, that virtual instrument media for Sundanese drums that facilitate learning Sundanese drums is still very rare. Method: The method is practice-led research or practice-based study by playing real drumming instruments recorded using sampling media in the form of virtual instruments in the KONTAKT Library. Result and Discussion: The design process is carried out in three stages, namely. pre-production, production, and post-production. The results showed that the pre-production analysis of tepak kendang sunda highlighted four drum sounds, namely keplak, kentrung, kemprang, and gedug. The production stage shows that the results of the tepak kendang analysis were recorded and produced a variety of different selected drum sounds. Conclusion: The sound samples were arranged in a keymap system on the KONTAKT keyboard, based on a velocity range system, so that each sound type expression can function as a virtual instrument in a DAW (digital audio workstation) application via midi. Pre-production alpha testing results with two phases state that the virtual instrument of the Sundanese drum can run well. The implication of the product design of the virtual instrument of Sundanese drums is adequate and ready to be used as a means of creativity in digital music.

Health Musicking Technology

The purpose of this article is to contribute more knowledge about digital technology in music therapy and public health, focusing on portable tablet technology. The article presents the findings from a multiple case study in which four adolescent outpatients from a mental health institution for children and adolescents participated in an iPadbased music workshop. The empirical data is sourced from qualitative interviews and participatory observation conducted during the workshop. The analysis suggests that the activity of making music with an iPad establishes and develops social relations, promotes self-esteem, and develops identity, enhances subjective wellbeing, and aids in dealing with daily life problems. Furthermore, it is suggested that the activity has value in terms of affording co-creation, strengthening agency, and building self-efficacy. The discussion includes reflections and critique concerning health-affordance, health musicking, and identity, and it argues for the benefits of using digital music technology with adolescents in mental health care.

Exploring art schema and their relevance to DAW teaching and pedagogy: Examples of artistic practice in the field of music production

This article discusses my ongoing exploration of art schema and their potential role to develop Digital Audio Workstation (DAW) and music technology teaching. Arts practices have been noted by various researchers as potentially assisting creativity, DAW or otherwise. One useful advantage of this approach is advocating for more exploratory and materials based approaches for DAW learning and teaching. This is not necessarily under the banner experimental, but, instead, being different from a discrete set of engineering or technical decisions. For this article, I discuss Peter Osborne’s art schema and Keith Sawyer’s creativity framework to establish some principles, illustrated by six short artist examples. These are in a common practice context, sampling. The examples illustrate how these schema are broadly useful for technology teaching, and how they could be incorporated into current and future music production curricula.

Beat Box

Music Applications are connected to Human emotions that are not consistent and they are actually result of circumstances happening in individuals. Music is one of the best ways to relieve pressure in stressful modern society life. It unites us across markets, ages, backgrounds, languages, preference[1]. Youths are so obsessed that not only day chores even during rest time they prefer music. Music Application have a high demand as this can be used anytime, anywhere, and can be combined with daily activities, travelling, sports. With the rapid development of mobile network and digital music technologies, digital music has become the mainstream consumer content sought by many young people. Nowadays, the internet is growing fast and a large group of people has access to the internet, but people always prefer songs of offline.

Prototype "Kendang Jaipong" Virtual Instrument as Music Creativity Tools

Numerous organological discoveries in the form of virtual instruments have surfaced as a result of the impact of developing digital music technology. To conserve and promote music based on local culture, organological innovations in the form of virtual instruments, such as the kendang jaipong, must be implemented. The goal of this work is to describe the development of the kendang jaipong virtual instrument from organological investigations through the realization of a marketable prototype. By sampling from the Kendang Jaipong’s actual instrument and converting it into a virtual instrument based on the KONTAKT Library, the technique utilized is practice-led research, also known as practice-based research. Pre-production, production, and post-production are the three stages of the design process. This prototype makes use of 137 samples that are based on a variety of chosen kendang sounds. To enable each type of kendang sound to function as a virtual instrument in DAW and Digital Music Notation programs, the audio samples are organized in a placement system on the keyboard keys included in the KONTAKT feature. The Kendang Jaipong prototype has been successfully tested on several music productions using DAW-cast and video score. The usage of the multi-round robin's function to have a more diversified sample, as well as the addition of the midi files capability, are things that need to be developed on this prototype product so that it may be used as a machine learning by users.

Entering the Ambient

Since the 1980s, there has been an interest in the clinical benefits and challenges with the use of digital music technology in music therapy, yet there is still little information about the experiential potentialities of digital music technologies from relational, psychodynamic, and ecological frameworks. The ambient mode of being presents a heuristic approach to clinical listening when using digital music technology. Performative collaborative autoethnography was utilized by a group of four music therapy clinicians who wanted to understand their shared experience of entering the ambient while improvising using digital music technologies. Seven video excerpts from six different improvisation sessions were chosen to explore this topic and its implications for being a music therapy clinician. In keeping with the values of performative collaborative autoethnography, the results and discussion of this study are presented as a dialogue between the researchers. Each group members’ experience of entering the ambient was unique, but they shared a common reverence for how they were able to create an ambient space using digital music technology, which acted as a co-agent within their group process. The group members discuss clinical implications for this research including the benefits, challenges, and the role of gender/identity when using digital music technologies.

Digital Music Recommendation Technology for Music Teaching Based on Deep Learning

With the rapid development of music streaming media service industry, users can easily hear any song on mobile devices. Internet has become a huge music storage platform. With the development of network and large-scale digital music industry, the acquisition and listening of music are presented to users in a more convenient way. How to find the music loved by users from the massive Internet digital music data has become the key problem and main goal to be solved in the field of music information retrieval. Personalized music recommendation system can accurately find and push songs that users may be interested in from tens of millions of huge music libraries according to users’ information under the condition that users only have vague demand for listening to songs. Relying on the traditional search method to find the music that you are interested in can no longer meet the needs of users, so the current music recommendation system needs to dig out the music that has no clear needs in the long tail to help people find their favorite songs.

Digital Music Feature Recognition Based on Wireless Sensing Technology

With the rapid development of information technology, digital music is subsequently increasing in large quantities, and how a good integration of vocal input and recognition technology can be transformed into digital music can greatly improve the efficiency of music production while ensuring the quality and effect of music. This paper focuses on the implementation and application of human voice input and recognition technology in digital music creation, enabling users to generate digital music forms by simply humming a melodic fragment of a piece of music into a microphone. The paper begins with an introduction to digital music and speech recognition technology and goes on to describe the respective characteristics of various audio formats, which are selected as data sources for digital music creation based on the advantages of the files in terms of retrieval. Following that, the method of extracting musical information from music is described, and the main melody is successfully extracted from the multitrack file to extract the corresponding musical performance information. The feature extraction of humming input melody is further described in detail. The traditional speech recognition method of using short-time energy and short-time overzero rate features for speech endpoint detection is analyzed. Combining the characteristics of humming music, the method of cutting notes by two-stage cutting mode, i.e., combining energy saliency index, overzero rate, and pitch change, is adopted to cut notes, which leads to a substantial improvement in performance. The algorithm uses the melody extraction algorithm to obtain the melody line, merges the short-time segments of the melody line to reduce the error rate of emotion recognition, uses the melody line to segment the music signal to generate segmented segments, then abstracts the features of the segmented segments through a CNN-based structural model, and inputs the output of the model to the regressor in cascade with the melody contour features of the corresponding segmented segments to finally obtain the emotion V / A value of the segmented segments.

Application of Music Industry Based on the Deep Neural Network

After entering the digital era, digital music technology has prompted the rise of Internet companies. In the process, it seems that Internet music has made some breakthroughs in business models; yet essentially, it has not changed the way music content reaches users. In the past, different traditional and shallow machine learning techniques are used to extract features from musical signals and classify them. Such techniques were cost-effective and time-consuming. In this study, we use a novel deep convolutional neural network (CNN) to extract multiple features from music signals and classify them. First, the harmonic/percussive sound separation (HPSS) algorithm is used to separate the original music signal spectrogram into temporal and frequency components, and the original spectrogram is used as the input of the CNN. Finally, the network structure of the CNN is designed, and the effect of different parameters on the recognition rate is investigated. It will fundamentally change the way music content reaches music users and is a disruptive technology application for the industry. Experimental results show that the proposed recognition rate of the GTZAN dataset is about 73% with no data expansion.

Sociological and Cultural Aspects of New Economic Models In Digital Music in Turkey

This research explained new economic models in the digital music industry in view of cultural, technological, and sociological aspects. The importance of local entrepreneurship, as well as global markets, were accessed. There have been many developments in digital music in the past two decades. These developments have affected relations between the digital economy and music technology. The study is mainly focused on the Turkish music market. Why the subscription and bundling models are on the rise? How does an economic merger between telecommunication companies and digital music services work? What are the effects of the recent developments in technology, in particular smartphones on music industry? The partnership of Turkcell, the largest GSM operator in Turkey, and one of the top 5 in Europe and Turkish digital music service Fizy was exemplified. Thus, the significance of local markets in the digital era, expectations of the audiences, the applicability of streaming, and bundling economic models in Turkey have been examined.

Feature Extraction of Music Signal Based on Adaptive Wave Equation Inversion

The digitization, analysis, and processing technology of music signals are the core of digital music technology. There is generally a preprocessing process before the music signal processing. The preprocessing process usually includes antialiasing filtering, digitization, preemphasis, windowing, and framing. Songs in the popular wav format and MP3 format on the Internet are all songs that have been processed by digital technology and do not need to be digitalized. Preprocessing can affect the effectiveness and reliability of the feature parameter extraction of music signals. Since the music signal is a kind of voice signal, the processing of the voice is also applicable to the music signal. In the study of adaptive wave equation inversion, the traditional full-wave equation inversion uses the minimum mean square error between real data and simulated data as the objective function. The gradient direction is determined by the cross-correlation of the back propagation residual wave field and the forward simulation wave field with respect to the second derivative of time. When there is a big gap between the initial model and the formal model, the phenomenon of cycle jumping will inevitably appear. In this paper, adaptive wave equation inversion is used. This method adopts the idea of penalty function and introduces the Wiener filter to establish a dual objective function for the phase difference that appears in the inversion. This article discusses the calculation formulas of the accompanying source, gradient, and iteration step length and uses the conjugate gradient method to iteratively reduce the phase difference. In the test function group and the recorded music signal library, a large number of simulation experiments and comparative analysis of the music signal recognition experiment were performed on the extracted features, which verified the time-frequency analysis performance of the wave equation inversion and the improvement of the decomposition algorithm. The features extracted by the wave equation inversion have a higher recognition rate than the features extracted based on the standard decomposition algorithm, which verifies that the wave equation inversion has a better decomposition ability.

How the Central Sydney independent musicians use pre-established ‘online DIY’ to sustain their networking during the COVID-19 pandemic

ABSTRACT This article discusses how the Central Sydney independent musicians’ ‘online DIY’ (do-it-yourself) practices not only provide additional opportunities for practising ‘independence’, but such practices, established pre-COVID-19, allow them to sustain their networking during the pandemic. Empirical findings that inform this article are based on qualitative strategies of inquiry conducted in the inner-city and inner-west areas of Sydney, Australia between 2017–2019–specifically, semi-structured interviews with 15 individuals involved with the scene, supplemented with participant observation at live gigs, and textual analysis of relevant texts, with follow-up online interviews with the same study participants in late 2020. ‘Online DIY’ is the integration of digital music and online communication technologies with the Central Sydney independent musicians’ independent practices. Since their online DIY practices enabled them to somewhat control where they want to perform, and how they want to produce, distribute, and promote their music, while also maintaining networks with both members of the local scene as well as music industries connections via online platforms like Bandcamp, YouTube, Facebook, and Instagram before the pandemic, the COVID-19-related live music shutdown did not have an immediate adverse impact on their activities.

Music Signal Recognition Based on the Mathematical and Physical Equation Inversion Method

Digitization and analysis processing technology of music signals is the core of digital music technology. The paper studies the music signal feature recognition technology based on the mathematical equation inversion method, which is aimed at designing a method that can help music learners in music learning and music composition. The paper firstly studies the modeling of music signal and its analysis and processing algorithm, combining the four elements of music sound, analyzing and extracting the characteristic parameters of notes, and establishing the mathematical model of single note signal and music score signal. The single note recognition algorithm is studied to extract the Mel frequency cepstrum coefficient of the signal and improve the DTW algorithm to achieve single note recognition. Based on the implementation of the single note algorithm, we combine the note temporal segmentation method based on the energy-entropy ratio to segment the music score into single note sequences to realize the music score recognition. The paper then goes on to study the music synthesis algorithm and perform simulations. The benchmark model demonstrates the positive correlation of pitch features on recognition through comparative experiments and explores the number of harmonics that should be attended to when recognizing different instruments. The attention network-based classification model draws on the properties of human auditory attention to improve the recognition scores of the main playing instruments and the overall recognition accuracy of all instruments. The two-stage classification model is divided into a first-stage classification model and a second-stage classification model, and the second-stage classification model consists of three residual networks, which are trained separately to specifically identify strings, winds, and percussions. This method has the highest recognition score and overall accuracy.

Music Technology Tools – A Therapist-in-a-box?

The purpose of this paper is to contribute to the discussion of technology in music therapy and public health, focusing on the human–computer interaction and the cocreation of mental health. Foundational theory explaining the possible therapeutic dynamics that can occur when engaged in digital technology is presented, along with two case vignettes that illustrate how adolescents interact with digital music technology to promote mental health and wellbeing. The discussion includes reflections concerning actor-network theory, agency, and affordance-theory, and it argues that the iPad should be considered a valuable co-agent in the agent-network functioning to promote adolescents’ mental health.

“Gimme a Beat!”

In 1986, Janet Jackson forever changed the direction of pop music and its music videos with the release of her third and breakthrough album, Control. Working with producers Jimmy Jam and Terry Lewis, choreographer Paula Abdul, and director Mary Lambert, Jackson created songs and videos that conveyed a new kind of feminist affect that intertwined individual stories of endurance, the forcefulness of relatively new digital music technology, and Black and female collectivity. In this article, I chart how Jackson transmitted this feminist affect through what I call hyperaurality, or sounds and vibrations that work in excess of the limitations of visual representation. Through tracing the affective excesses of Jackson’s visuals, sounds, and movements, I unpack how hyperaurality both intensifies and reintegrates the senses of sight, hearing, and feeling. In the process, I posit that vibration, or sound’s materially felt oscillations, works as a point of connection across these three aspects of hyperaurality. By demonstrating its connective power, I assert that vibration is a source of affective politics within popular music, one with the power of repurposing capitalism's excesses.

ANALISIS BENTUK DAN KOMPOSISI MUSIK SPEECH COMPOSING HOTTO DOGU KARYA HEIAKIM MUSIK DENGAN MEDIA GOOGLE TRANSLATE

The development of music technology came within time to time with a variety of innovations and new discoveries in music. Development grow faster in the music industry, more and more appear in musical works. Followed by the development of music, the technology is also being used, so that digital music trends are emerging. One result of development of digital music technology is speech composing. In a simple speech that compiles interpreted as a process of creativity that turns words into songs. Heiakim Music, who made the Speech Composings song "Hotto Dogu" whose lyrics were taken from pieces of words made from sound samples using Google Translate feature (Text to Speech).

PENGEMBANGAN MODEL PERTUNJUKAN MUSIK BERBASIS WORK FROM HOME DENGANPEMANFAATAN TEKNOLOGI DIGITAL SEBAGAI DAMPAK COVID-19

This research aims to produce an effective performance method based on work from home with the application of digital music technology due to the impact of Covid 19. This method is useful for musicians, lecturers, academics and the public that can be used as entertainment, education, watching and good guidance in this modern era. The purpose of this study consists of: 1) Helping musicians, composers, singers, conductors, teachers, academics to make it easier to understand the use of digital technology for the needs of creative music performances that are work from home; and 2) Finding a model for developing creative music performances based on digital technology to accelerate the ability to play, collaborate, educate and express skills that are work from home. The method used in this research is a qualitative approach. Data observations were carried out as a first step to finding references to digital music based music performances that became the raw material for applying the development model. Data was collected through video recording of both live and offline shows in various reference sources. In between, an interview with musicians is also needed to enrich the supporting terms and features. The output of this research is in the form of scientific articles in national and international accredited journals, video and audio products in the form of application of digital music and intellectual property software. This research can be a finding that contributes to the development of creative music performances in North Sumatra. This research is also expected to contribute to uncover the development of the demonstration model through digital technology media.