Music Studio Research Articles

Positive Youth Development: Developing, Implementing, and Sustaining Music-Based Services for Emerging Adults Experiencing Homelessness

Research suggests that comprehensive services that consider the complex and interconnected needs of emerging adults experiencing homelessness may be more effective than interventions with a singular focus. There is little research that demonstrates how agencies that implement programs for individuals experiencing homelessness develop and sustain meaningful services for emerging adults, especially under conditions of increasing austerity. This study targets this gap in the literature by investigating how one transitional living program for emerging adults experiencing homelessness developed a music studio. Specifically, this study examines the factors and processes that were involved in developing, implementing, and sustaining the music studio. Findings suggest an ongoing organizational commitment to Positive Youth Development plays an important role.

Solidarity of asian youth mediated by punk with implication of political aspects of each region: Focus on GBN Livehouse in Mulladong, Seoul and Trapped Citizen in Taipei, Taiwan

Since the mid-2010s, there has been a increase in connections between the Mullae-dong GBN live house(GBN) and the Japanese hardcore punk scene. There is already an international tradition of hardcore punk scene that promotes subculture production that transcends regions and races by being urban tribe, but their solidarity has more Asian characteristics. In the situation not only bands in Mulla-dong which pursue lifestyle politics faced marginalization but also bands in Japan faced aging, their solidarity adequates each needs and includes affective bonding with state of mind that couldn’t find in solidarity with the Western. On September 23, 2017 GBN held a performance of D.I.Y. festival ‘No limit Seoul 2017’, youth, activists, artists, musicians and researchers from Asia participated. Members of Taiwan’s punk collective Trapped citizen have also found GBN and appreciated their political aspect. In Taipei, Trapped citizen is struggling to establish a radical punk scene, in which people marginalized in social movements, student movements, urban culture to create offices and music studios together. The GBN and Trapped citizen emphasize the political aspect in their practice. In the youth culture that penetrates Asia, I want to examine the aspect of punctuation that focuses on the politics of Seoul and Taipei.

Music Program Alumni’s Perceptions of Professional Skills, Abilities, and Job Satisfaction: A Secondary Analysis of the 2011, 2012, and 2013 Strategic National Arts Alumni Project (SNAAP) Survey

The purpose of this study is to compare music studio teachers’ ( n = 622) and K–12 music teachers’ ( n = 976) perceptions of the extent to which their postsecondary education helped them develop selected professional skills and abilities, perceptions of how important those same selected skills and abilities are for teaching, and job satisfaction. Data are from the 2011, 2012, and 2013 administrations of the Strategic National Arts Alumni Project survey. Respondents indicated the following skills were very important to their work: relationship building (Studio: 81.3%; K–12: 75.7%), leadership skills (Studio: 71.6%; K–12: 89.3%), project management (Studio: 65.1%; K–12: 74.8%), persuasive speaking (Studio: 63.4%; K–12: 74.2%), clear writing (Studio: 51.5%; K–12: 63.4%), creative thinking (Studio: 88.7%; K–12: 91.4%), taking feedback (Studio: 78.8%; K–12: 81.2%), broad knowledge and education (Studio: 80.1%; K–12: 91.0%), and critical thinking (Studio: 64.3%; K–12: 76.4%). Fewer than 50% of respondents felt their institutions had helped them develop project management, persuasive speaking, clear writing, and critical thinking skills. The most substantial differences were financial, business, and entrepreneurial skills, indicating that studio teachers perceive these skills as important to their work. Studio teachers were less satisfied with job security but more satisfied with work-life balance than K–12 teachers.

Music Studio in Malang

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Electronic Music 7 Variations (1957)

Program note for Toshiro Mayuzumi’s contribution to the serial electronic work, ‘Shichi no Variation’ (‘Variations of 7’, or ‘7 Variations’), a collaboration with fellow Japanese composer Makoto Moroi carried out at the NHK electronic music studio in 1956. Here, Mayuzumi describes the structure of the seventh and longest variation, the sound sources and techniques used, and his general thoughts regarding electronic music. First published as a program note to the concert ‘An Evening of Contemporary Music, No. 1: Ars Nova’ at the Dai-ichi Semei Hall in Tokyo on 28 March 1957, this text appears here translated into English for the first time.

Mayuzumi’s Electronic Studies

The author examines the study and implementation of serial electronic music techniques of the Cologne School—specifically those Karlheinz Stockhausen employed in his ‘Studie I & II’ (1953/54)—by Japanese electronic music pioneer Toshiro Mayuzumi through his works ‘Music for Sine Waves by Sequences of Prime Number Ratios’ (1955) and, in collaboration with Makoto Moroi, ‘7 Variations’ (1956), both realised at the NHK Electronic Music Studio. Mayuzumi’s account of Music for Sine Waves’ in his essay ‘The Principles of Electronic Music’ is cross-examined with Stockhausen’s account of ‘Studie I’ in his essay ‘Komposition 1953 Nr. 2’; while technical details from Mayuzumi’s programme note and Moroi’s essay about ‘7 Variations’ are compared with those in Stockhausen’s score for ‘Studie II’. Attention is also given to Mayuzumi’s own assessment of the works and his ultimate abandonment of electronic music composition.

Understanding the Pull Motivations of Malaysian Women Music Teachers as Music Entrepreneurs

Entrepreneurship generally refers to small business ownership which implies quality of innovation and initiative in creating a new venture. Previous studies on entrepreneurship have indicated that pull and push factors in motivation and the environmental influences are the two main dynamic aspects that prompt women into their decision in creating their own business. In the Malaysian context, some women music teachers have ventured into establishing music businesses after several years of contribution in music teaching. What are the pull factors and influences that prompted these women music teachers into music business ownership after some years of music teaching? This study aims to examine and explore the pull motivational and influencing factors of why women music teachers endeavour in setting up music studios, music schools and entering into small music business ownership. In-depth interviews were conducted with 3 women music entrepreneurs and data was analysed for emerging themes. The findings provided evidence for the better understanding of the pull motivational and influencing factors of the women music entrepreneurs.

Finding One’s Place: A Case Study of a Music Atelierista

ABSTRACTThe purpose of this exploratory case study was to document one teacher’s journey as he negotiated the role of music atelierista (music studio teacher) in a school inspired by the Reggio Emilia approach (REA). Through the collection of qualitative data over a one-year time period and subsequent analysis, the author identified and described the processes experienced by the music atelierista as he negotiated his role, the current status of the developing music program, and the conflicts encountered by the music atelierista and the school community. The music atelierista portrayed the development of his role as “a big challenge” and identified conflicts between music teaching and learning and the REA, as well as tensions between working with a large group of children and the REA. These and other barriers to a successful Reggio-inspired music program may be overcome with a clear, shared vision for the role of music in Reggio-inspired schools.

Coro by iCadenza

Reviewed by: Coro by iCadenza Mallory Sajewski Coro by iCadenza. [Los Angeles, CA]: iCadenza, 2017–. https://coro.icadenza.com/ (Accessed 3 April 2018). [Requires a Web browser and an Internet connection. Institutional subscription pricing varies; individual subscriptions are $34 per month or $340 per year.] Introduction Coro by iCadenza is an online educational platform consisting of career development and entrepreneurship resources that are tailored specifically to musicians. It helps users move their careers forward, break through challenges, begin new projects, develop materials for job applications, and make big career decisions. Its primary aim is to help musicians in their pursuit of careers that are both fulfilling and financially sound, ultimately increasing retention in the music field. Coro, which is Italian for "choir," strives to bring people together and has built a strong community in which musicians learn from, engage with, and support one another. Coro provides extensive opportunities for mentorship and networking, in addition to access to a growing library of video courses developed by industry leaders. Coro by iCadenza helps musicians build the professional skills required for longterm career success through online education, mentorship, and community. Content Coro by iCadenza provides access to an extensive library of video courses. These courses are developed by industry leaders, including people such as Sarah Robinson (author of the 2014 self-published e-book Clubbing for Classical Musicians), Astrid Baumgardner (Lecturer & Head of Office of Career Strategies at the Yale University School of Music), Nathan Cole (First Associate Concertmaster of the Los Angeles Philharmonic), Cassidy Fitzpatrick (Director of Community Engagement at the New World Symphony), and Rob Knopper (Percussionist of the Metropolitan Opera Orchestra and founder of auditionhacker). A wide variety of topics are covered, and courses include titles such as Resumes and Cover Letters, The Art of Collaboration, Making it Happen: A Guide to Self-Producing, Developing a Business Plan, Audition Preparation, Press Kit Secrets, Developing a Thriving Music Studio, Musicians & Taxes: How to Deduct Strategically, and Grant Writing. Each video lesson includes a downloadable workbook to help viewers immediately apply what they have learned to their own career. Coro by iCadenza recognizes that the music industry is constantly changing, so new courses are released three times a year to help users stay current. Coro offers Coaching Labs, which are small group coaching sessions that meet several times each week. These sessions are led by a member of the iCadenza team and focus on a particular topic that is announced beforehand. Up to three hours of Coaching Labs are offered each week, and subscribers are welcome to attend as many sessions as they wish. These sessions give members the unique opportunity to get individualized support and to connect with other members. Individual [End Page 134] coaching is also available to Coro members at a discounted rate. Coro prides itself on its sense of community, which is further built in a private, members-only Facebook group. The Coro by iCadenza Facebook group includes subscribers/performers from all over the world. Members have the opportunity to ask questions, find collaborative partners in their area, and attend weekly Facebook live sessions with members of the iCadenza team. The Facebook live sessions, which take place on Thursdays at 5pm PST, focus on a particular topic each week, such as networking tips for introverts or setting S.M.A.R.T. goals. Members have the opportunity to get involved by asking questions in advance or during the session, and all videos are archived in the Facebook group following the conclusion of the session. The iCadenza team posts daily discussion prompts which allow members to get to know and inspire one another, hold each other accountable as they work towards their goals, and celebrate each other's victories. The group is relatively small (217 members at the time of this writing), but it is well run and adds even more value to a subscription. Creators iCadenza was co-founded by Jennifer Rosenfeld and Julia Torgovitskaya Rapoport. Rosenfeld received her JD/MBA from Stanford Law School and Graduate School of Business, has taught career development for arts students at Stanford University, and is on the Board of Directors of the Los Angeles Philharmonic Association and KDFC, the Bay Area...

Music studio operators from Germany’s “Ruhrpott”: Role, services and resources

The role of record producers has always been in the state of constant change. Following Howlett (2009) and Martin (2014), this article explores the work realities of ordinary but still professional “studio operators” from the Ruhr Area in Germany. Focusing on studio operators rather than on record producers pays special attention to the economic, material and administrative aspects that are often neglected. The findings indicate that aspiring producers see the need to have a studio of their own and to offer various services besides the core activities of recording, mixing and mastering. The results also reveal a type of creative entrepreneur in the true sense of a “studio operator”.

Sejarah Lembaga Pendidikan Musik Klasik Non Formal di Kota Medan

Tjong Sce Yin (founder of the first music school in Medan) and Tjong A Fie Mansion (the first school house in Medan) with the name of Medan Music School renamed the Pure Music Institute (LMM) and now renamed the Conservatory Music Medan. In addition to the above three things, also can not be separated from some non-formal music education institutions that organize classical music education in Medan that is Melody Music Studio (Musical Field), Musika Era, Music Rhythm and Institute of Music Education (LPM) Farabi Medan .

Enhancing learning and teaching in the tertiary music studio through reflection and collaboration

ABSTRACTThis paper reports on a multi-institutional project using reflection and collaboration to enable one-to-one music teachers to improve their professional skills and foster deep learning in music students. The benefits of reflection and collaboration in student learning and teacher development are reported on in depth within higher education. Less researched is their relevance to the one-to-one tertiary music context. This project comprised several initiatives around professional development activities for teachers and reflective exercises for students. The outcomes indicate the potential for the transformative approaches of reflection and collaboration to improve student learning outcomes in one-to-one tertiary music settings. This would appear to be dependent on two factors: students receiving support and guidance to reflect in such a way that enhances their learning outcomes; and teachers receiving support and guidance on how to foster students’ reflective capabilities. One recommendation from the study is that greater professional development opportunities in these areas are made available to one-to-one music teachers.

SOLO MUSIC DENGAN PENERAPAN SISTEM AKUSTIK

<p><em>Solo’s music world is not yet well accousticly contained because Solo does not have any buliding that specifically used for musical activities. The purpose of this design is to create a container of music activities with a good accoustic quality. The problem that emerge is how to design a building to contain music activities with a good accoustic quality. The planned building apply an accoustical system which able to accomodate every music genre with amplified sound. The accoustic room uses many sound absorber for amplified music. The result is music performance building design, music school design, recording studio design, and music studio design with a good accoustic quality.</em></p><p class="Keywords"><strong><em>Keywords</em></strong><em>: Music Performance Building, Music School, Recording Studio, Music Studio, Accoustic System</em><em></em></p>

Wang Ming-hui and Blacklist Production: the Third World/Asia turn of Taiwan’s new music production

ABSTRACTThe paper discusses the music group ‘Blacklist Production’ (also known as Blacklist Studio) that was established in the late 1980s when the Martial Law was lifted in Taiwan, and the group’s original works of music. It investigates the music composition and thinking process of Wang Ming-hui, the founder of Blacklist Production, and analyses two albums produced by the music studio, Songs of Madness (1989) and Lullaby (1996), as a way of reconsidering and reflecting the feeling process and limitations of the nativist ideology from 1989 to 1996 that took shape in Taiwan’s society. In addition, the paper also explores Wang’s musical practices through which he has tried to answer the question of ‘how to express thoughts with music’. Through the historical analysis of musical works and interviews with Wang Ming-hui, the paper suggests that ‘Taiwan’s New Music Production’ brought up and practiced by Wang and Blacklist Production is embedded with the possibility for Taiwan’s culture and imagination of modernity to ‘turn’ the referent point to the Third World/Asia.

Isolation in studio music teaching: The secret garden

In comparison with classroom settings that are more accessible to the scrutiny of researchers and institutional monitoring, the one-to-one setting of instrumental and vocal studio teaching has been described as a ‘secret garden’. The physical isolation of the music studio has deep roots within the traditions of apprenticeship and embodies aspects of conservatoire culture that are sometimes carried over into other musical styles. With a focus on higher education, this paper explores the nature and significance of isolation for the studio, alongside some of the benefits, limitations, and challenges that it offers. The authors contend that the physical disposition of the studio within the institution gives implicit support to the attitudes and assumptions that sustain traditional approaches to music performance teaching, and that making them explicit can help to open those approaches to further challenge, review and development.

“Yes, [Gospel] Is Real”: Half a Century with Chicago's Martin and Morris Company

AbstractThe Martin and Morris Music Studio (MMMS) imprint permeated the first fifty years of black gospel music. Jointly owned by singer/impresaria Sallie Martin (1895/6–1988) and composer/arranger/pianist/organist Kenneth Morris (1917–88), the MMMS delivered gospel songs to an eager public and offered ordinary Americans the chance to see their names in print as author or composer on the cover of a gospel octavo, copies of which could then be sold to benefit that same ordinary American. Their influence extended far beyond that service, however. Martin and her Singers performed and popularized music bearing the MMMS imprint in venues ranging from small churches in the Deep South to national conventions in Washington, D.C., and widened circulation of MMMS music via Los Angeles recording studios. The unprecedented accomplishments of the MMMS, active from 1940 to 1993, have not been fully explored. Relying on transcribed interviews of the owners by Bernice Johnson Reagon, James Standifer, and others, accounts in historical newspapers, and company archives, this article addresses that void. The centrality of the MMMS in twentieth-century gospel of all types is clarified through examination of contexts for black-owned music publishing in the last century, the owners’ early business models, and their changing roles in the creation, publication, popularization, and dissemination of gospel music for more than fifty years.

CompLex - an OSC and Voltage controlled Signal Path Generator (VC-SPG)

This thesis describes my electronic and artistic research into the design of what I have called the Voltage Controlled Signal Path Generator (VC-SPG). It is a switching audio matrix that can both be seen as a new tool, and as a part of a musical-instrument. As we will see, it can be applied in an analogue electronic music studio setup, a modular synthesizer or in an interactive art-installation. This master research project is a continuation of my previous work at the Royal Conservatoire where I design new technology for Art and Education. The fundamental core of my research project is the development of an audio-matrix with 16 inputs and 16 outputs that can be fully configured, controlled and programmed with Open Sound Control (OSC) and that can be synced and triggered with external analogue signals. In its present state the VC-SPG has become a new type of generator that is able to switch between different studio presets and form the core of new audio experiences and new compositional approaches. I will describe and reflect upon both the technical challenges and development and the musical and artistic results shared with me by students and professionals who used the VC-SPG over the last year for their own work. They all experienced the VC-SPG to be adding a new dimension to their creative process. We can conclude that the VC-SPG is not only a new practical tool, but also a creative instrument for electronic-music and art.

A History of Electronic Music at the University of Iowa

This article provides a close study of the University of Iowa Electronic Music Studios. The point of such a detailed account of one studio is to shed light on activity within the field of electronic music that previously did not occupy a place in the literature. Few of the studios listed in Hugh Davies’s International Electronic Music Catalog have received detailed attention. Until a wider range of close studies that pay attention to the particularities of individual cases becomes available, it will be difficult to do the comparative work necessary to gain an appropriately textured overall account of the development of electronic music in the post-war period. As these detailed studies, based largely on first-hand documentation, increase the resolution of electronic music’s history, they may highlight significant but previously unnoticed, or at least under-appreciated, patterns in the development of electronic music and act as an effective barometer of changing trends.

Critical success factors of recording studio in Indonesia

PurposeThis viewpoint paper is based on consultancy project in developing strategic marketing plan for building a professional recording studio in Bandung, Indonesia. Nonetheless, previous studies that scrutinize the key success factors in music recording studio industry are noticeably lacking, whereas music artists still rely heavily on recording studio providers to record their music and distribute it to the market. Hence, finding out the critical success factors (CSF) can help recording studio to craft strategic marketing plan within effective and efficient budget. The paper aims to discuss these issues.Design/methodology/approachMethods carried out in this study are based on triangulation which comprises of primary observation, interviews to experts in the respective field, and literature reviews regarding CSF, service quality and service excellence. Five years of primary observations took place in five studios on two major cities in Indonesia which are Bandung and Jakarta of which many prominent musicians were originated. The interviews were conducted to six respondents who have more than ten years of experience in music industry, and have produced at least two albums through professional music recording processes in music studios including recording, mixing, and mastering.FindingsIt is found that by exploiting the conceptual theories of service quality and service excellence as the foundations, there are primarily three critical factors in music recording studio industry in Indonesia which are human resources development in primarily technical aspects, communication skills, and servicescapes which involve the recording facilities and also the studio surroundings.Research limitations/implicationsThis study only took samples from five studios, two major cities in Indonesia and limited experts opinion. Nevertheless, confirmatory study is expected in the future in order to gain deeper insights or other additional point of view in determining CSF in the recording studio industry. This paper, however, has contributed to the existing literature of service quality, service excellence, and CSF in a narrow scope of industry which is music recording studio.Practical implicationsManagers who wish to start a recording studio business must look deeply into these three critical factors to address the budget effectively and efficiently in initial investment of the studio. Through this study it can be observed that music studio as a service firm can still focus on creating critical values to strive even though the music industry landscape has been deteriorated due to piracy and the development of technology. It is expected that through this study, by understanding the CSF, managers in music recording studio can focus on creating value effectively and efficiently in recording studio business.Originality/valueThis study contributes to fill the gap of empirical discussion in determining CSF in the music recording studio business in Indonesia in the context of service quality and service excellence, which has not been examined by previous scholars.

録音現場における実演履歴収集システムの必要性について : 演奏家自身の手による【Spider System】( 音を巡る著作権の現況)

録音現場における実演履歴収集システムの必要性について : 演奏家自身の手による【Spider System】( 音を巡る著作権の現況)