Garage Band Research Articles

Getting punk and personal: creating and evaluating podcasts and zines as pedagogy for teaching and learning in critical geographical methodologies

ABSTRACT Punk has its roots in the garage bands of the 1960s and 1970s as expressions of resistance to mainstream music. Punk, however, has evolved over time to encompass rebellion and an ethic of DIY (i.e. do it yourself) not just in music but in other domains to reject the status quo. Punk can be found in the university too. Podcasting and zines, for example, are such DIY approaches for postsecondary pedagogy. In this paper, we share our perspectives on the punk creation of a podcast series and zine associated with a course interested in engaging graduate students in critical geographical methodologies in the middle of the COVID-19 pandemic. This work came about through a synchronous online seminar that created space for graduate students to get punk and personal in their approach to engaging with course materials. We (Kiera, Saskia, Sam, and Erica) created a four-part podcast series and zine, “Getting Personal” that was submitted for evaluation in relation to the course objectives. When the course concluded, the professor (Heather) encouraged the podcasters to broadcast their DIY project. Doing so sparked mutual interest in further engagement with theory and praxis towards the work presented here; we speculate about the utility of punk projects as a pedagogical tool for uncertain futures.

비전공자를 위한 작곡 교양교과목 개발 운영 사례연구

This study aims to discuss the various advantages and problems that have emerged through the development and operation of a course called “Understanding Music through Composition Experience”, which was opened as a liberal arts course for college students without majoring in music at universities, and to suggest directions for development and improvement. In this three-step class, “Basic Music Theory, Melody Composition Method, Garage Band Application”, the basic music theory essential for composition was found out through the course operation, and melody composed by students were compared according to Schoenberg's tonal music composition theory. I tried to apply the melody and harmony created here to the Garage Band, and analyzed the satisfaction of the students. In conclusion, basic music theory regarding tonality, scale, and pitch interval is considered important for practical composition ability, more practice on rhythm and time is required, and emphasis should be placed on harmony with chords in melody composition. This study is meaningful in suggesting future development directions for creative music classes as liberal arts subjects in universities and class design using smart phone application.

음악 활용 앱 연구 동향과 개발 방안

This study is to review of literature on the music-using apps and developmental strategies. The results of analyzing 50 research from 2012 to 2021 were as follows. Music-using app research were performed research fields on music education and interdisciplinary research, topic on effectiveness of developing and applying program for middle and high school students the most in 2015. Apps mainly dealt with ‘Garage Band’ and virtual instruments were used in an integrated way. Positive aspects were ‘interaction with smart devices’, ‘aesthetic music experience’, ‘voluntary participation’, ‘learning effect’ and ‘strategic use in educational fields’, ‘economical high utility’ and ‘expanding use of music in life’. Negative aspects were ‘system limitations’, ‘lack of music-centered experience’, ‘need a strategy for learners’, ‘Insufficient strategies for learning attitudes in education’ and ‘difficulties in operating apps’. Developmental strategies for music-using app is to improve functions for useful apps and explore utilization in the educational field. Future, it is expected to develop music app to enjoy aesthetic experience of music and to increase usability in life.

Serving Up Sound: Treadwell mixes it up at warner bros. studio

Form a band, hit the recording studio, and make it big in the entertainment business; it’s the dream of garage bands, American Idols, and <italic xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink">The Voice</i> contestants around the world. But joining a band in Smyrna, Georgia, provided an unexpected detour to success for Warner Bros. Studios Automated Dialogue Replacement (ADR) Mixer Tami Treadwell.

Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career

Chasing Dreams, Finding Nightmares: Exploring the Creative Limits of the Music Career

Spindrift

Spindrift Erin Vachon (bio) 1. Flood I was lost at sea by the snack table, swallowing morsels of vegan carrot cake like sand. The host had pulled out his service weapon to show to the other party guests, just as Alex sailed through the storm door. I waved, buoyant at her entrance, then heard my words spill out after I said them. Do you remember anything? She huffed her low laugh. I was going to ask you that. The host began telling a war story, pointing at his collectible knives with glassy eyes. Months had passed since Alex and I had seen each other. I floated close to her flannelled arm, puzzling out how to talk about that night, when something had washed our memories of it away. ________ The seaside bar hung over the ocean, leaning on rotting beams driven down into wet sand. Patrons poured in to see bands on the weekends, rolling out from a rivulet of parallel-parked cars winding all the way down to the water. Inside they knocked back cocktails in plastic cups and sucked chicken wings off the bone. But the bar had its tricks, feigning solidity where there was little. The open planks of the front steps caught your feet, an informal sobriety test on the way in and out. Handmade curtains for bathroom stalls brushed your shins as you pissed. Stools shifted suddenly under your butt from one leg shorn too short. The back deck floated somewhere between sea and sky, trembling in heavy wind, a great ship on a journey that went nowhere at all. I'd stood on those boards and felt them creak beneath my feet, their precariousness a shivery danger, like cresting a rollercoaster with loosening bolts. The bar was already filling that night when my partner and I dropped our belongings on a table among his colleagues. I was a guest there, or a witness, listening to their happy chattering like dolphin clicks. Alex worked with my partner, and if I had seen her around only occasionally, I liked her. Slouchy cargo pants and messy blonde bun bouncing atop her head, she wove in and out of the crowd, bodies moving aside for her like swaying kelp. I sipped two mixed drinks over a few hours, leaning against my partner's arm and breathing the odd alchemy of brine and beer. I sat, [End Page 84] observing, a mudskipper perched on an unbalanced stool. The house lights went down, then flared up cobalt blue, like diving into a fish tank. A garage band tuned guitars, then thumped a bass line that overtook the beat of my heart. I began to feel part of the flow instead of beside it. Alex swirled with a dimpled grin, a betta fish refracting light as she danced. On a pass past the table, she caught my arm and drew me into the current. We whirled, the same Converse sneakers pounding on the wood floor, a similarity that felt serendipitous. We played like freshwater creatures, safe and euphoric. When she grimaced at the tall Narragansett beer in her hand, she yelled in my ear, I don't want this! You finish it off! I giggled and shoved her away. She had left half of the cheap swill sweating in my grip, and I opened my mouth to its bitterness. When I spun I saw my partner's face in the blue light, smiling at my unrestrained joy. Then I sat straight up in bed. ________ The skip from standing up to waking up was violent, a tearing of continuity. A single flicker of memory through gauze: pavement and the bottom of a car door. Black pebbled tar and my gray Converse drooping on old tread-marks. I heard my own voice, a half-lost phrase. That was all. ________ My partner woke beside me and placed a hand to my back while I hyperventilated, confused. He whispered words to soothe my displacement, the wrongness of finding myself in the wrong place and time. I had been dancing, and then I was in bed. Vertical, then horizontal. Shoeless and re-clothed, in an instant. He built a seawall against the tsunami of...

Development potential of information and communication technologies for formation of music understanding in primary school pupils

The article is devoted to the educational and developmental potential of information and communication technologies for the formation of understanding of music in primary school students at the music lesson. Psychological characteristics of younger school age – inquisitiveness, emotionality, mental activity, immediacy, openness, trustworthiness, their belief in the undeniable authority of the teacher and willingness to fulfill any of his tasks are favorable conditions for affirmation of broad social motives at this age responsibility, understanding of the need for training etc. The possibility of a teacher in music lessons using various computer programs: MIDI, Musical Instruments Digital Interface, Garage Band, FlexiMusic Composer, FL Studio, Finale, Sibelius. The use of modern computer technology in music lessons in primary school makes learning bright, unforgettable, interesting for the student, contributing to the formation of cognitive skills in students, forming an emotional-positive attitude to the arts. After all, the use of information and communication technologies in the classroom increases the level of understanding of music in primary school students. Various and multifaceted psychological and pedagogical tasks of informatization of the educational process in primary school students are highlighted, namely: development of communication skills; correction of mental and emotional states; development of the emotional sphere of the child's personality; formation of selfpresentation skills; setting up an emotionally-supportive atmosphere in the classroom. The use of information and communication technologies in music lessons contributes to the educational and development potential of primary school students to form an understanding of music, namely: motivation; individualization and differentiation; cognitive development of the child; forming a culture of educational activity and information culture. Thus, the problem of educational and development potential of primary school students by means of information and communication technologies does not lose its relevance. The introduction of information and communication technologies into the educational process for forming the understanding of music in primary school students in a music lesson is a complex process that is caused by individual psychological characteristics, personal experience, emotional and sensual sphere. Key words: educational and development potential, information and communication technologies, understanding, primary school students, music lesson.

Build a neural synthesizer

My teenage son has become interested in making music. In my generation, that would have meant picking up an electric guitar and forming a garage band. Instead, he's installed a digital-audio workstation on his laptop, studied up on music theory, and started composing EDM, or electronic dance music. Frankly, I don't understand what he's doing.

Design it yourself? Punk’s division of labour

Abstract Punk’s do-it-yourself call to arms led to a widespread adoption of the rhetoric, if not always the practice, of independence from traditional means of production – although it should be acknowledged that do-it-yourself ideals go back a lot further than the punk explosion of the 1970s, from traditional folk music through to the bottleneck rural blues players of the 1930s and 1940s, the 1950s UK skiffle boom and early 1960s US garage bands. The punks may have articulated the do-it-yourself vision most clearly, turning it into a mantra, but they were inheriting a tradition that was established many years earlier. During the early period of punk’s development in the United Kingdom, a distinct division of labour can be seen in the impact of an ‘anyone can do it’ DIY ethos on a range of activities. These range from live performance to the creation and manufacture of punk artefacts (clothes, posters, flyers, fanzines, records). While some of these areas offered new opportunities for amateur producers, within more technical areas of manufacturing, including the physical production of records, do-it-yourself could only have a nominal impact. Many punk groups did not have access to sound recording technologies, and even if they did, they would have to hand over the cutting and pressing of vinyl to a professional outfit. There was certainly a widespread and outspoken desire to take artistic control away from mainstream sources, but in reality the full ownership of the means of production was at best a naive ambition. Similarly, sleeve artwork could be created by untrained designers, but print reproduction was often left to the services of a professional print studio – doing-it-yourself had obvious limitations when it came to large-scale production and distribution.

A Study on the Application Method of Creative Music Class by using DAW(Digital Audio Workstation) based Garage Band Software

지난 2014년 정부의 소프트웨어 중심사회 선언 이후 SW(Software) 교육의 중요성은 날로 부각되고 있다. 이에 따라 음악교육계에서는 기존의 칠판과 오선지에 의존하던 전통수업방식에서 탈피하여 학습자에게 학습 동기를 부여하고 적극적으로 참여하도록 하는 다양한 소프트웨어의 개발 및 수업활용방안에 관한 연구를 지속하고 있다. 본 연구에서는 DAW(Digital Audio Workstation) 기반의 소프트웨어 Garage Band를 창작수업에서 활용하기 위한 가능성을 모색하고 그에 따른 교수·학습 지도 방안을 제시하였다. Garage Band는 미국 애플사에서 개발한 음악연주 및 제작 소프트웨어로 사용방법이 간단하고 다양한 악기를 구현하며 무엇보다 프리웨어로 배포되어 음악수업에 활용가치가 높다고 할 수 있다. 이 연구는 음악교과 내에서 다양한 소프트웨어의 활용 필요성을 강조함과 더불어 실제적 활용방안을 제고하는데 의의가 있다.The importance of SW(Software) education has risen in prominence day by day after the government declaration of Software based society in 2014. For this reason, the music educational world continues to develop a variety of software and study the application method of class by escaping from the traditional teaching method depending on the existing blackboard and manuscript paper for endowing the learning motivation to the learners in order to make them participate in that positively. This study was to grope for a possibility of using the software Garage Band in the music class based on DAW(Digital Audio Workstation), and suggesting teaching-learning method. The Garage Band can be easily performed before anything and has high usefulness in the music class which is distributed as freeware as musical performance and building software developed by Apple Inc. in U.S. by implementation of various instruments as well as simple method of use. The significance of the study can be found in that it emphasized the necessity of using a variety of software within the music subject as well as it enhanced the actual application method.

The Do-it-Yourself (DiY) craft aesthetic of The Trons − Robot garage band

Abstract The Trons are a Lo-Fi robot-garage-band constructed from discarded and redundant materials, including Meccano, aluminium foil salvaged from food wrappings and automotive solenoids. The central hub of their operation comes from a computer, made obsolete in the mid-1990s, which feeds signals to flimsy materials whose inefficiencies and ‘errors’ add another layer of processing to the sound. This articles discusses the use of discarded materials as processing agents as a Do-it-Yourself (DiY) craft aesthetic that embraces inefficiency and error as active agents in the production of sound. The indeterminate performance of sound, enacted by the Lo-Fi robotics used in The Trons, is viewed in this paper as an example of a strategy that emerges from a deep engagement by the practitioner with the materials of construction. Through an observation of studio practices and interviews with the maker, material engagement is revealed as a way of generating embodied knowledge, a form of craft practice that situates the DiY practitioner as being entangled within the material environment, and with the work evolving as a shared, reciprocal, exchange between human and material. In this article, function and dysfunctional ‘error’ are part of a spectrum of acceptable outcomes of the DiY craft aesthetic, a process in which practitioners and technological materials form an extended network of agency, displacing the human as the exclusive centre of process.

To win the Indian heart: music at Chemawa Indian School

Since 1879, Indian children from all regions of the United States have entered federal boarding schoolsinstitutions designed to assimilate them into mainstream society. Chemawa Indian School in western Oregon, one of the nation s oldest and the longest still in continuous operation, is an emblem of a system that has intimately impacted countless lives and communities. In To Win the Indian Heart: Music at Chemawa Indian School, Melissa Parkhurst records the history of the school s musical life. She explores the crucial role music was meant to play in the total transformation of Indian children, and the cultural recovery and resiliency it often inspired instead. Parkhurst chronicles the complex ways in which students, families, faculty, and administrators employed music, both as a tool for assimilation and, conversely, as a vehicle for student resistancea subject long overlooked in literature on Indian education and the assimilation campaign. Combining oral histories of Chemawa alumni with archival records of campus life, the book examines the prominent forms of music making at Chemawaschool band, choirs, private lessons, pageants, dance, garage bands, and powwows. Parkhurst traces the trajectory of federal Indian policy, highlighting students creative responses and the ways in which music reveals the inherent contradictions in the U.S. government s assimilation practices.

Musical Chameleons: Fluency and Flexibility in Online Remix Contests

Musical Chameleons: Fluency and Flexibility in Online Remix Contests

B.U.G. (Big Ugly Guy) by Jane Yolen (review)

Reviewed by: B.U.G. (Big Ugly Guy) by Jane Yolen Kate Quealy-Gainer Yolen, Jane . B.U.G. (Big Ugly Guy); by Jane Yolen and Adam Stemple. Dutton, 2013. [192p]. ISBN 978-0-525-42238-9 $16.99 Reviewed from galleys Ad Gr. 5-7. Life gets a little bit better for perpetual bully target Sammy Greenburg when he finally makes his first friend in eighth grade. Skinner John Williams, aka Skink, is pretty awesome, silencing Sammy's bullies with a single karate chop to a lunch table, introducing Sammy to the girl of his dreams, and even agreeing to start up a Klezmer fusion garage band after Sammy introduces Skink to the unique combination of jazz and Jewish folk music. When the bullies beat up Skink, however, Sammy decides enough is enough, and, using a formula he finds in his rabbi's study, he creates a golem to take vengeance on his enemies—and fill the missing drummer spot in his new band. Predictably, the golem gets out of hand, and Sammy inevitably realizes the important lesson that violence only begets more violence. The efforts of Yolen and Stemple to contextualize middle-school bullying within a larger tradition of oppression is an interesting, if somewhat variably successful, tactic. The inclusion of Sammy's struggles with his faith and its traditions as well as Skink's being the only black kid in a small, mostly white Midwestern town reminds readers that bullying is not something that happens only in the hallways of schools; however, several direct comparisons between Sammy's quandary and the historical systematic oppression of Jewish people in general take the parallels too far and only succeed in trivializing both. Nonetheless, both Sammy and Skink are likable guys, and the relationship that develops out of their shared statuses as outcasts as well as their love for music is endearing and funny. The hilariously over-the-top ending is either a brilliant parody of an afterschool special or an overly earnest attempt at empowerment; either way, readers will close the book with a smile, albeit for perhaps different reasons. Click for larger view View full resolution [End Page 399] Copyright © 2013 The Board of Trustees of the University of Illinois

Popular Music and Classical Musicians

In recent years, popular music has become a growing area of music study and is increasingly accepted in schools and universities around the world. Despite this general enthusiasm, classically trained music teachers bring a certain hesitation to this art form, perhaps because too few have had formal hands-on experience with it. This article describes several strategies for teaching the study and practice of popular music to classically trained musicians as part of a university teacher education program. Included is discussion of collaborative learning, an approach that helps classical musicians learn popular music through participating in “classroom garage bands.”

Strategies for Success: Enhancing Learning Through Podcasting: Garage Band, Audacity and Slideshare

Strategies for Success: Enhancing Learning Through Podcasting: Garage Band, Audacity and Slideshare

Garage band or GarageBand®? Remixing musical futures

In this paper, I suggest that it is perhaps time to consider the pedagogy of popular music in more extensive terms than conventional rock band practices have to offer. One direction in which this might lead is the expansion of the informal pedagogy based on a ‘garage band’ model to encompass various modes of digital artistry wherever this artistry takes place. This might include: in face-to-face pedagogical situations, in other contexts of informal learning, and in such open networked learning environments as remix sites and musical online communities. The rock-based practice of learning songs by ear from records and rehearsing them together to perform live or to record is just one way to practice popular music artistry today. Such practices as DJing/turntablism; assembling of various bits and pieces to remixes; remixing entire songs to mash-ups in home studios; collective songwriting online; producing of one's own music videos to YouTube; exchanging and comparing videos of live performances of Guitar Hero and Rock Band game songs – all of these indicate a musical culture that differs substantially from conventional ‘garage band’ practices. The global eminence of digital music culture can be taken as one indication of the need to reconsider music as a transformative praxis. By examining the ways in which music is produced and used in digital music culture, we can prepare for new forms of artistry that have yet to emerge from the creative mosaic of digital appropriation. Thus, we expand and redefine our notions of informal music pedagogy. This paper concludes with consideration of several themes that Afrodiasporic aesthetics suggest to the understanding of this artistry.

Refresh, Refresh (review)

Reviewed by: Refresh, Refresh Elizabeth Bush Percy, Benjamin . Refresh, Refresh; ad. and illus. by Danica Novgorodoff. First Second/Roaring Brook, 2009 138p. Paper ed. ISBN 978-1-59643-522-3 $17.99 Ad Gr. 9 up Ever since their fathers deployed to Iraq, high-schoolers Josh, Cody, and Gordon have been saddled with extra anxiety and domestic responsibility but little oversight or direction. The trio have taken to fighting each other in brutal backyard matches, concluding in some oblique way that "this is what we all wanted: to please our fathers, to make them proud—even though they had left us." In the world of this graphic novel, never have three boys more desperately needed stable male guidance; in a small town now largely devoid of child-rearing-aged men, community dynamics shift so that bars are amenable to underage drinkers, women are hungry for male companionship, and military recruiters are on the prowl. This title, adapted from a screenplay based on a short story, shows some strain from the transmission through genres. Action often lurches rather than flows from scene to scene, and several promising subplots (particularly Cody's relationship with his adoring younger brother and Josh's one-night fling with an immigrant woman in need of an American husband) are picked up, cursorily examined, and laid back down. The graphic format occasionally serves the plot well, though, showing rather than telling Josh's obsessive email hovering (thus, the novel's title) as he waits for messages from his father, and the grief and frustration of the soldier assigned to delivering news of fatalities to local families. Readers can expect little joy for the future of these young men, whose flashes of compassion and humanity are fairly overwhelmed by their increasing violence. Ultimately, the only way Josh can deal with grief over [End Page 123] his father's death and fear of prosecution for an assault he helps commit is to enlist in the military. Troubled young manhood receives a superior graphic treatment in Gipi's Garage Band (BCCB 7/07) or his Notes for a War Story (BCCB 11/07), but the message that violence begets violence should make a compelling discussion topic for teens considering their own possible roles in overseas engagements. Copyright © 2009 The Board of Trustees of the University of Illinois

Design and Acoustic Performance of a Drum Practice Music Studio

Minimising the impact of music practice and “Garage Band” performances upon neighbours in a residential area is challenging in terms of noise emissions from musical instruments, but particularly so when drums and percussion instruments are involved. Normal residential building façades and roofing designs offer limited low frequency noise attenuation and domestic building construction methods can severely compromise the performance of seemingly adequate partition construction details. This paper presents the results of design, construction and testing activities for a private drum studio that was required to meet stringent boundary noise emission targets in order to comply with local council Development Application requirements. High transmission loss lightweight partition test data is provided for the as-built final installation, along with details of cavity absorption, panel damping and vibration isolation treatments that contributed to maximising façade sound reduction performance. A range of room internal absorption treatments, including low frequency “tube traps”, corner traps and diffusers were successfully employed to achieve compliance with BBC recommended reverberation times for small recording studios

Beyond BTEs: Earmold Opportunities in Clinical Practice

Beyond BTEs: Earmold Opportunities in Clinical Practice