Music Production Research Articles

Max Weber played the piano more than a hundred years ago: Contributions for a contemporary revisiting of Weber’s sociology (of music)

Music has always been a concern for sociology, and its classic authors attest to this. We begin this article – which is essayistic in nature – with a substantive analysis of this tradition that continues to (re)shape the sociology of music today. Amongst these classics, we would like to highlight its greatest name: Max Weber. In fact, this author developed a long-term analysis of Western music, especially with the advance of rationalisation, somewhat similar to his analyses of the spirit of capitalism and the genesis of bureaucracy in Europe in his study The Rational and Social Foundations of Music – written between 1912–1913 and published posthumously in 1921. We then establish a link between Weber's thesis and the sociology of music today, centring our analysis on contemporary music production through the use of Artificial Intelligence (AI), but also the digital universe more broadly. Weber's theoretical contributions are explored in relation to this, focusing on the interconnection between his concept of rationalisation and the emerging digitalisation of music – in particular, streaming services.

Research on the trend and innovation of electronic music production

Nowadays, the level of science and technology in our country gradually develops, and the corresponding electronic music production is experiencing rapid progress. At present, people's demand for the quality of electronic music production is higher and higher. It should not only give people a good sense of hearing, but also be able to combine with high and new technology for application. Throughout the evolution of Chinese electronic music production, it is not difficult to find that it has experienced a process of gradual improvement of technology and is developing towards the direction of computerization. This paper will briefly introduce the evolution process of electronic music production and traditional technologies such as wave table synthesis, addition synthesis, subtraction synthesis, sampling synthesis, modulation synthesis and other sound synthesis methods, and briefly describe the application of the new ROLI Seaboard technology in electronic music production.

아날로그 아웃보드 프로세서의 특성 연구

The purpose of this paper is to find out the characteristics of analog outboard processors through objective comparison analysis between FUISON products, which are analog outboard processors of Solid State Logic, and five plug-ins made by emulating FUISON products. The results of the study showed that hardware had more energy than plug-ins, and that this difference was more evident in the ultra-low and ultra-high-pitched bands. Although these results are limited in delivering acoustic differences in writing by the outboard processor, the results of the measurement are expected to help follow-up studies of various acoustic analysis studies based on this study, and this study is expected to provide good indicators for those in the music production industry.

창의적융합력 강화를 위한 학습공동체 기반 학교뮤지컬 교사 연수 프로그램 연구

The purpose of this study is to verify the effectiveness of the learning community-based school musical production teacher training program to strengthen teachers' creative convergence power, and to explore the experience and meaning of participating teachers. To this end, the Seoul Metropolitan Office of Education runs a 45-hour teacher training program called “Learning Actors” and is researching 15 elementary and secondary teachers who participated in the program. During the 15-week training period, teachers collaborate with local artists, display thematic expertise, and teach each other, while performing music at local venues for students, parents and fellow teachers. In order to measure the educational effect, a preliminary t-test was conducted on 15 subjects, and in-depth interviews, observations, and portfolios were analyzed. As a result of the study, this training program was meaningful in improving teachers' convergence teaching methods and partnerships with the community, while providing teachers' cooperative skills, understanding, insight into other subjects, and opportunities to reflect on life through arts activities.

Remediating fantasy narratives for participatory fandom: Tolkien’s stories and their translations in films, video games, music and other products of the culture industries

The phenomenon of fantasy transmediality (Rebora 2016) has been discussed by many researchers and scholars during the last decade. The need for the creation of alluring cultural products in the highly competitive new media environment has led to synergies between many cultural industries and/or cultural producers, such as film, music, literature and videogame industries, etc. Many well-known and fan-developing narratives have been remediated – repackaged and redistributed – through the various media, answering to the contemporary nostalgia of pastness (Williams 2016), the cherishing of the familiar and intimate, as well as the need to further popularize “a pre-conceived merchandising industry” (Ball 2002), create new side-products for a fan community or even offer escapelands, which fantasy narratives succeed in creating. This paper will examine the translation and adaptation of Tolkien’s Lord of the Rings (LOTR) to different media and cultural industries, such as:- Peter Jackson’s films, - role-playing games (RPGs), - the music industry – with reference to well-known songs and bands.Through comparative analysis of certain segments of the LOTR industry market and comments made by fans on digital platforms, the paper underlines the basic story elements of the Tolkien universe, as adapted to each above-mentioned variant and examines the role of fans in the digital semiosphere.

CONTEMPORARY MUSIC(AL) THEATRE IN LATVIA: PROBLEM OF DEFINITIONS AND FORMATS

The article aims to discuss the existing problem in contemporary art criticism, when previous genre definitions and descriptions do not match to current phenomena in question. The contemporary music(al) theatre productions tend to by diverse and often produced as hybrids, interdisciplinary projects that do not allow a single method of analysis characteristic to one of the combined artistic disciplines. The three examples provided are defined by their authors as a contemporary chamber opera, a contemporary musical and opera-film, showing the diversity of music(al) theatre genres emerging today in new form. The author concludes that the hybridization of genres and the devised creation method implies the questioning of former analytical instruments and discourses in order to develop the criticism of performing arts along with the research subject.

Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)

Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.

Grassroots as an Artistic Category of Ukrainian Culture of the XVII–XIХ Centuries

The purpose of the article is the classification of Ukrainian musical culture, which, unlike other artistic genres, has not received clear musical definitions for a long period of time. This is connected with socio-cultural and historical circumstances, when music was primarily perceived as a part of liturgical rites, everyday life, and other circumstances, and in this context was interpreted as part of something bigger, a whole. Therefore, the assessment of musical art as a single category needs clarifications and definitions. The research methodology is based on historical, cultural, and artistic levels. The scientific novelty consists in the introduction of the term Grassroots into scientific circulation to describe and define the quality of musical productions. Conclusions. For a more appropriate definition and characterisation of the musical creativity of the 17th-19th centuries, the term Grassroots, in our opinion, is the most successful and appropriate. It clearly demonstrates the development of national musical art as "grassroots", at the same time taking it out of the realm of primitiveness and dilettantism, which metropolitan cultures have tried to impose on us over the centuries. At the same time, the aesthetic tension is relieved when characterising works through the prism of kitsch means and tools, as well as its definition as "low" or "grassroots", since the adaptation of the achievements of European art on national material required a certain time for formation and development. Therefore, Grassroots art is the most appropriate term to describe and classify the rich heritage of Ukrainian musical art. Key words: "high" art, "low" art, grassroots art, kitsch, musical culture

Premieres and their Promotions in Modern Art Life (on the Example of Concerto No. 2 for Cello with the Orchestra of M. Skoryk)

The article reveals the principle of creating a large-scale promotion on the example of the premiere of the Concerto No. 2 for cello with the orchestra by Myroslav Mykhailovych Skoryk, as well as on the basis of the activities of music producer and cellist Oleksandr Piriyev. A brief summary gives different types of promotion. New forms of information distribution have been determined thanks to the possibilities of social networks, which are used by the broad masses of consumers involved in innovative technologies, which increases the circle of influence of marketing communication in society. The principles for the successful promotion of a cultural product are formulated using examples of modern methods adopted by the latest technologies. An analysis of the term "promotion" and an explanation of the factors that make it appropriate to use this word in the field of media culture have been made. The principles of successful promotion are revealed using the example of the premiere of Concerto No. 2 for cello and orchestra and its symbol as part of the large creative project "Three S: Skoryk-Stankovich-Sylvestrov". A special aspect in the creation of a marketing brand for the concert premiere was determined. A peculiar method of interest of the recipients in the premiere of the concert, using the methods of a press release has been indicated. The personal opinion of the author regarding the use of the possibilities of the media space is defined. Methods of promotion, which are expedient to apply in the field of media culture, have been formulated. The special contribution of Oleksandr Piriyev to the "Three S" project as a music producer is noted and his activities in the field of media culture are outlined. The programs of concerts in which Concerto No. 2 for cello and orchestra were performed by various professional musical ensembles of the national level, and the places where they were held have been described. The activities of Oleksandr Piriyev in the field of music production are considered using the examples of Ukrainian musical projects ("Myroslaw Skoryk Music Days", "Three S", Kharkiv Music Fest, Mariupol Classic), where popular symphonic compositions by Myroslaw Mykhailovych were performed, as well as Concerto No. 2 for cello from orchestra.

“Ukrainian wave” in the context of music life in modern Switzerland

Relevance of the study. The struggle of the Ukrainian people for freedom and independence has caused a great international wave of sympathy and, at the same time, interest in Ukraine and its artistic heritage. Intensification of cultural communication with other countries actualizes the need to understand the mechanisms of cultural life in Europe, the USA, other countries of the West and East. The study of the audience of classical music concerts is important because the listener is the final consumer of the music product. Studying the mechanisms of organizing a large international festival on the example of Lucerne Festival is important and promising.
 Main objectives of the study. To highlight the problem of perception of Ukrainian music by the Swiss public and to describe the ways to overcome it in the context of the mechanisms of organization of musical life in Switzerland.
 Methodology. The research is based on general scientific empirical (observation, description) and theoretical (generalization, comparison) methods. Statistical and sociological methods are used to identify patterns in the change of preferences of the European public in recent years.
 Results and conclusions. The research summarized the experience of foreign scientists in studying the problem of audience aging. Some theories such as the theory of generations and the cohort effect are highlighted. Approaches to attracting new generations to the audience of classical music concerts are generalized. Problem areas in the perception of Ukrainian art by the European audience are identified and ways to overcome the problem are proposed.
 Prospects for further research. The actual lack of research on the third link of the triad "composer — performer — listener" and the relevance of the object promotes further research in this area. Particular importance is the focus on foreign listeners, the search for ways to "translate" the meanings underlying the Ukrainian artistic product.

Features and Development Trends of Modern Domestic Children's Musical

The purpose of the article is to reveal the features of a children's musical, created for performance by a children's team, as well as to analyse the specifics of its production on the example of the performances of the leading domestic theatres-studios of musicals. Research methodology. General scientific methods of analysis and synthesis, special artistic methods of observation, systematisation and generalisation, as well as genre and style analysis, comparative method (to identify general and specific features of children's musicals) and the method of theoretical generalisation are applied. Scientific novelty is in the introduction into scientific circulation on the example of musical productions of domestic amateur children's theatre-studios of the knowledge about the musical nature of children's musicals, caused by the interaction of music, verbal, and non-verbal means of expression that correspond to the specifics of children's perception and thinking (musicality is understood as special intonation manifestations characteristic of all means of artistic expression). Children's musicals created to be performed by a children's group were studied in terms of genre specificity; musicals staged by Kyiv amateur children's theatres were analysed; the regularities of children's musicals in the creative practice of Ukrainian theatres for children: studio-theatre «OKAY!», musical theatre «Music Hall», and others are considered. Conclusions. Children's musicals staged by domestic amateur children's groups are a unique genre variety in which various branches of artistic and creative activity are connected in the most perfect form – music, movement, dance, language, speech, acting, singing, costumes, decoration, stage lighting, and special effects. The special spectacularity, brightness, picturesqueness, and construction of this music-dramatic work as a kind of game are characteristic features that create a symbolic space in which the stage action is perceived by the audience as sincerely as possible. The children's musical is endowed with a variety of positive qualities and properties that create the prerequisites for immersing the young viewer in the imaginative world of emotions and feelings, fantasies and thoughts, while remaining as clear and easy to understand as possible thanks to the visualisation of the fairy-tale world of fiction, charm and focus of the entire palette of feelings and moods around the stage spectacle.
 Key words: children's musical, amateur children's group, theatre-studio, performance, stage spectacle.

Pengaruh Positif Fenomena K-Pop Terhadap Karakter Generasi Muda di Indonesia

Along with the development of technology in the era of globalization, people can access information very easily. One of them is access to the growing world of K-pop. Korean cultural products include film, music, drama, fashion, lifestyle, and industrial products. It has begun to color the lives of people in various parts of the world, especially in Indonesia. Indonesia is one of the countries that is the main target for the spread of Korean culture. The continuous spread of Korean culture encourages a love of Korean culture, and subsequently the formation of Korean culture in Indonesia. This study aims to determine the positive impact of Korean popular culture on the habits of the younger generation in Indonesia. The research method used is a qualitative approach with literature study and using descriptive methods. The data in this study were collected from the results of library research from journals and articles. The improvement of the development of this wave newspaper really needs to be discussed and must be considered by parents in seeing the character of their children. In this journal the author discusses the factors that cause the younger generation to like K-Pop and the positive impact of this K-Pop development on the character of the younger generation in Indonesia.

Value Flow in Music Content Production: A Case Study

While the music industry significantly values music content production, it has also triggered disputes regarding copyrights and the attribution of interests within the same context. The value flow for the pre-digitalization and digitalization periods were compared before collecting typical work data from studio stakeholders involved in the content production of an original song. In this case study, the developing value flow was established from the perspectives of the content production team, which satisfied the scarcity of the commercial music production model. The findings indicated that individuals in the digital music industry value chain (MIVC) receive a bidirectional value flow, which represents its sustainability. The closed loop in the music business has been speculated to be the potential reason for internal frictions, which manifest as copyright conflict. The discussion proposes solutions for a healthier market, which may contribute to the higher quality production of musicians.

Simplicity of Form: a tale of two cathedrals and interiors lost?: Hamilton Founders Memorial Theatre (1962) and St Joseph's Catholic Church Morrinsville (1964)

St Joseph's Catholic Church, Morrinsville, was designed in 1958-62 by Doug Angus of Angus, Flood & Griffiths of Hamilton. Built in 1964-65, the design was radical, had simplicity in form both externally and internally. The simple external upturned parabola defied the level of innovation and detailing, creating both the exterior and interior form with the use of pre-stressed concrete ribs, and pre-cast panels between. The parabolic form was 49' 6" in height, designed by engineer Thomas Flood. The 8,000 sqft church accommodated 600 people. It was said to be New Zealand's largest single-pour concrete roof of the time. The Modernist interior was of a grand scale with the specially-designed fittings - only seen by parishioners. And this was part of its demise. The scale was for a cathedral not small-town New Zealand. Regionally significant in terms of architecture and engineering technology, an iconic Waikato church, and the work of an important Modernist architect and engineer, yet it was demolished in 2014. In the Waikato, at the same time as the church was being designed, the new regional theatre and "town hall" was on the drawing board of architect Aubrey de Lisle, of White, de Lisle and Jenkins of Hamilton. The Founders Memorial Theatre opened in November 1962, inspired by Coventry's Belgrade Theatre, which was the first civic theatre built in Great Britain after World War Two. The 1,249-seat theatre, built a decade before Christchurch Town Hall, has hosted international performers of note to local theatre and music productions within its "gently sloping wood panelled confines." Jazz great Louis Armstrong arrived for shows on 20 March 1963, but due to payment issues he almost didn't play at all. From Louis Armstrong to Cilla Black in 1965, to the home of the Finns, the theatre for over 60 years has been the focus of many from the new teenagers of the 1960s to classical music and the performance of the young ballet students. Closed in 2016 from lack of maintenance and ongoing strengthening, with the Hotere mural removed for the new Waikato Theatre, the interior now only used in the dark for police exercises as its fate awaits. Two very different cultural interiors – a cathedral for faith and a "cathedral" for performance – a church and a theatre.

Kritik Sosial Dalam Musik

here are many music productions that contain criticism, both in the form of social, government, and natural criticism in this country. One of the music which in the lyrics has the theme of social criticism is 'Papua Kucinta'. As for the problem in this study, how is the representation of social criticism in the lyrics of the song 'Papua Kucinta'. This study tries to find out the social problems distributed in the media which are contained in the form of song lyrics, especially social problems in Papua. The purpose of this study was to find out how social criticism is represented in the lyrics of the song 'Papua Kucinta'.
 This study uses a type of qualitative research. The method used in this study is textual analysis and data analysis techniques in the form of textual analysis by Alan McKee. To obtain data, the data collection methods used were documentation and interviews. Interview with the writer and singer of the song "Papua Kucinta" Iksan Scooter through Instagram direct messages. The documents used are in the form of song lyrics, more precisely the lyrics of the song "Papua Kucinta". After collecting data, then an analysis of words and sentences is carried out which can then be interpreted.
 The results of this study are three stages according to McKee in representing textual analysis. Among others: (1) the denotation stage, in the lyrics of the song has the meaning of inequality between the province of Papua and other regions in Indonesia. (2) the connotation stage, in these meanings, according to the author Iksan conveys a message through the text of the song lyrics how do the people of Papua feel who have experienced injustice and racism, so that social criticism in the lyrics of this song requires meanings such as economic meaning, injustice and crime . (3) myth, which is discussed in this study regarding reality, representation and social criticism

Modern music production equipment and how it can be used in student teaching: overture and its impact on motivation and interest in electronic music creation

Modern music production equipment and how it can be used in student teaching: overture and its impact on motivation and interest in electronic music creation

Sampling as ethnographic method/remixing Gulu City

AbstractThis article describes the process of producing Gulu SoundTracks, a digital sonic ethnographic project accessible at gulusoundtracks.org, with four Ugandan music producers based in Gulu. The album comprises eight digital audio tracks that tell stories about Gulu musically through the compositional mixing of field soundscape recordings. Using field recordings as samples opened up sampling as a multimodal method for ethnographic storytelling which entails listening that is “vexed” (Weheliye 2005), archival, multiple, and generative. Pointing to insights from the project's creative process, the author explores sound praxis as a modality for amplifying fruitful connections between ethnographic and Afrodiasporic arts traditions. In conversation with others using sound methods in anthropology, ethnomusicology, and digital sound studies, this article stages a dialogue between sound‐based work, critical treatments of Black and Afrosonic cultural production, and experimental ethnography. Sampling as method centers ethnographic imagination and points to critical possibilities field recording holds for anthropological knowledge production.

Cantos sagrados y voces colectivas descoloniales desde la voz de Elvira Espejo Ayca. Kirki Qhañi. Petaca de las poéticas andinas (2022)

This article-interview with the poet Elvira Espejo Ayca discusses the process of recovering the sacred songs of the Aymara and Quechua indigenous communities through the oral tradition from her grandmother Gregoria Mamani and her great-great-grandmother Martina Pumala. The song-poems preserve Inca meanings and aesthetics that the indigenous people used during Colonization to maintain good relations with the Spanish domain and, in turn, mask those referring to the Inca deities. Some songs have been taken up to unravel the lyrical resources of colonial times and recreate the original songs of the ancestors with the community of Kurmi Wasi School in Bolivia, a musical production that was recorded under the name of Sami Kirki in 2018, which was included in the last Espejo’s book Kirki Qhañi (2022).

Review: Pop Masculinities: The Politics of Gender in the Twenty-First Century Popular Music, by Kai Arne Hansen

Review: <i>Pop Masculinities: The Politics of Gender in the Twenty-First Century Popular Music</i>, by Kai Arne Hansen

경도신경인지장애 노인의 노래 회상 활동 사례 연구

This study was conducted to confirm what kind of changes the song recall activity, centering on the identification of future support resources and positive emotional experiences brought to older adults with mild Neurocognitive Disorder with depression. The subjects were three older adults with mild Neurocognitive Disorder. The music therapy program consisted of 7 sessions with song recall, positive emotional experiences and expressions, and creating lyrics through positive self-expression activities. Geriatric Depression Scale(GDS) was conducted before, after, and upon completion of the session. Moreover, based on the recorded conversation and recalled memories, the process of emotional changes and identified future psychological resources and their meanings were analyzed. The findings are as follows. First, the participants continuously expressed positive emotions such as joy, appreciation, and confidence unlike the previous state of depression. Second, the participants recalled in detail by linking the songs with meaningful memories that provided them comfort and were able to identify, discovering the psychological support resources. Third, it was also confirmed that musical products with positive lyrics created by embracing the present self were also used as positive psychological resources. This study suggests that the positive emotions experienced in song recall can be used as a future-oriented psychological resource.