Recording Studio Research Articles

Expressive Timing in Bob Dylan's ‘With God on Our Side’

ABSTRACTTo analyse the metre of popular song is an act of performance analysis. Without reference to a score, analysts must rely on recordings to determine metre, grouping, and timing fluctuations. When these fluctuations and groupings change (within a performance or between performances) a fixed representation of a song's metre is challenged.In this study, I explore how Dylan's early, folk‐influenced ‘singer‐songwriter’ music challenges traditional approaches to performance analysis through an investigation of expressive timing in his song ‘With God on Our Side’ (1964). The studio recording, from The Times They Are A‐Changin’, defies a fixed metre: timing fluctuations make it difficult to choose a tactus and tactus groupings will be inconsistent, switching between triple and quadruple hypermetre. Live performances between 1963 and 1965 often also feature unpredictable grouping structures.I begin this study with a brief contextualisation of the song within the early 1960s folk revival. Secondly, I investigate the inadequacies of published sheet music and guitar tablature as referential scores for a study of metre in popular songs. I then explore hypermetric structures of ‘With God on Our Side’ in live performances in the early‐to‐mid 1960s. Finally, I analyze the metric details of the opening phrases of the Times studio recording. These analyses demonstrate how changing metric structure expresses both lyrical meaning and the freedoms of Dylan's early 1960s performance practice. These findings, in their renegotiation of the roles of performance analysis (composer, performer, analyst and score), demonstrate how critical attention should be paid to expressive timing in flexibly timed popular music.

Development of ukrainian speech discrimination tests for children (phase of formation of tables with words)

Topicality: The speech audiometry is an essential diagnostic method which allows to fully assess the effectiveness of the cochlear implantation and hearing aids, to identify the central auditory processing disorders among the patients. Ukrainian audiologists have all necessary tools to perform classical speech audiometry and determine speech discrimination in the difficult acoustic conditions in adults. But it should be said that Ukrainian speech tests for children haven’t been developed yet. Aim: to develop and implement the Ukrainian speech discrimination tests for children. To solve the problem of speech audiometry in Ukraine it was decided to develop several speech discrimination tests for children of different ages and needs. At the first stage the authors have formed the groups with Ukrainian words for speech audiometry in children (starting from preschool age) and made a studio recording of the test that should be tested and validated futher. The formed word groups meet with all the requirements for phonetically balanced speech discrimination tests taking into consideration the peculiarities of children’s audiometry. The following principles were adhered in each group: the presence of all Ukrainian vowel phonemes in the stressed syllable and consonants with different frequency; the presence of words with different numbers of syllables; taking into consideration the rhythmic structure of the word (stress place); keeping a constant ratio of vowels and consonants. The article presents the primary (not yet valid) version of the Ukrainian speech discrimination test for children’s audiometry. Studio recording of this test will be tested in children with normal and impaired hearing as well as in users of hearing aids and cochlear implants. Conclusions: For the first time in Ukraine the tables with words have been formed in the native language for the audiometry in children (starting from the preschool age). The studio recording of the speech discrimination test was done with the female voice. Hence the next phase of development of the Ukrainian speech tests for children is planned the sence of which will be to approbate and validate.

Black Flag’s My War Side Two: Cultural and Aesthetic Legacies in Studio Recording

ABSTRACT In 1984, L.A. punk band Black Flag released My War. Coming three years after Damaged – a canonized classic of the hardcore genre – and following a period of legal dispute and touring hiatus, My War was diverse and polarizing; side two of the album featured three slow, long riff-heavy songs that run counter to the predominantly lean and fast signature sound of the band’s previous work and that of many contemporaries. With the benefit of hindsight, these tracks signaled punk’s reinvestment in heavy metal, precipitating new hybrid forms such as sludge metal, drone metal, and stoner metal. In this paper, we exhume a subset of this aesthetic lineage and discuss how it has informed a subsequent recording: Lysol by theMelvins. Through analysis of recorded works, we demonstrate how the sounds of side two of My War have been propagated and refined, highlighting the links between these idiosyncratic sounds and the pragmatic realities of low-budget studio production.

‘Let us know you’re locked’

Pirate radio is one of the pillars of grime music. This arena acts as both a communal and artistic space for musicians to coalesce and create on a regular basis. Its recordings, however, are rarely utilized as part of musical and historical enquiry. Prior investigation has principally focused on studio recordings, specifically the album. This article makes the case for listening again to pirate radio broadcasts, demonstrating how these artefacts act as a historical and musical referent. This is achieved through the analysis of recordings from 2001–2005 alongside ethnographic interviews with practitioners, examining the intense locational claustrophobia, communal conviviality, and entrepreneurial spirit possessed by these artists and their listenership. Pirate radio captures music as process and—unlike static recordings—is a medium that allows for long form extemporization and extra-musical assertions, consequently offering an unparalleled insight into the sociohistorical state of play in London at the turn of the millennium.

The Vocal Cycle of Vitalii Hubarenko “Hold Out The Palms” in a Modern Musical Project

An individual performing project dedicated to the anniversaries of the CherkashinHubarenko family, which is consisted of a series of concerts, a program “Family Album” and a studio recording of an audio CD called “Poetry and Music” (performed by Valeria Tulis (vocals) and Olena Shchoholieva (piano)), was considered. A detailed report was made on the approbation of this concert program, which had included bright examples of chamber and vocal music by Vitaliy Hubarenko and Iryna Hubarenko, as well as Mykhailo Shukh (based on poems by Iryna Hubarenko). Particular attention was drawn to a new wave of interest in the work of father and daughter. In this regard, other concert programs in Ukraine and abroad with the participation of various performers were mentioned. Attention was focused on the vocal cycle of V. Hubarenko “Hold on the palms” to the words of V. Sosiura op. 26 which is one of the works of the presented concert program. The latest research on the life and work of V. Hubarenko in general, and the selected work in particular, were analysed. The vocal cycle “Hold out the palms” already has its own performance history, so the multiple performances of the past years were mentioned, where it was performed as part of the anniversary author's concerts during the composer's life. Oleksandr Vostryakov became the most famous interpreter of the cycle and the performer whom V. Hubarenko especially appreciated. The most important features of his performance version accompanied by an orchestra are emphasized, in particular the attraction to the opera style of singing, scale, dramatics of expression. The vocal cycle “Hold on the palms” by V. Hubarenko, written in the original for tenor and piano, was analysed in the new performance aspect. The poetic text was edited, which made it possible to perform a tenor cycle in the female version and determined its individual creative understanding. New approaches in the interpretation of this cycle were identified, namely: the creation of a touching female image, the emphasis on the song-chamber, intimate-lyrical tone of this music. Attention was paid to the subordination of all means of musical expression to the composer's own perception and understanding of the poetic source. Emphasis was placed on the importance of the piano part in revealing a wide range of feelings and emotional states, in giving more metrorhythmic freedom to the soloist. The role of ensemble interrelation, “creative tandem” of performers in the formation of the general figurative impression was determined

“We are a fly on the wall listening”: Constructions of Musical Intimacy in The Beatles' Anthology

Abstract Between 1995 and 1996, The Beatles released the three volume, six-disc Anthology, a sprawling audio set issued to coincide with a televised documentary of the same name. One of the first major releases of its kind, the Anthology albums curated and compiled previously unreleased demos, studio recordings, and live performances, under the auspices of giving listeners insight into the band's creative process. Beyond the appeal of new Beatles product however, the Anthology albums are unique in exploiting particular manifestations of musical intimacy that ultimately serve to further cultivate the group's well-established pop cultural mythos.

Pop Life: Prince in the Recording Studio

ABSTRACT Prince Rogers Nelson (1958–2016) was a once-in-a-generation songwriter, instrumentalist, singer, performer, and entrepreneur, occupying a singular place in the history of twentieth-century popular music. I served as his staff recording engineer during four of his most productive years (1983–1987), working on albums from Purple Rain through the unreleased Black Album. This article offers my perspective on Prince’s working methods, his genius for production and arrangements, and his notable studio innovations. His exceptional productivity and career longevity make Prince an outstanding exemplar for scholars probing the larger topic of musical creativity, in addition to his specific importance to the dialectic of music and culture.

George Gershwin’s jazz transcriptions in piano performance of academic tradition

George Gershwin’s jazz transcriptions in piano performance of academic tradition

Portable architecture studio recording video as solution for space limitation

Current development of learning technology requires facilities for video recording. These facilities certainly take space and a great cost. One architecture concept that can be used as a solution to these problems is Portable Architecture. Portable Architecture is expected to be a solution in land use efficiency to support sustainable architecture. Portable Architecture is an architectural object that can move or be moved and can adapt to changes in the environment. Portable Architecture in a video recording studio must be able to anticipate any changes in the space around its environment. Portable video recording studio can be reused in different places. Then Portable video recording studio devices must be able to reduce sound well, easily disassembled, having a good ventilation system, fit one person, and having video recording devices (backdrop, lighting, tripods, cameras, audio).

Трансформации отечественной песенной культуры в 90-е годы XX века (региональный аспект)

In the Russian song culture of the 1990s both the general features of development in the conditions of reformation of society, as well as the regional specific features were revealed. The issue is examined in the article by the example of the song culture of the composers’ (authorial) tradition of the Volgograd Region. The democratization of society and market economy relations have led to a reorganization of the institutions of culture and artistic unions, the creation of new forms of institutions, organizations and artistic ensembles, as well as to the birth of show business. This period was characterized by a diversity of the art of music in terms of genre and style. The continuity of traditions of the Soviet song classics was preserved, which included songs of civic importance, as well as war and lyrical songs. An example of innovation in the culture of the region was the development of pop culture. The art of jazz, rock music, bard and children’s songs had undergone evolution. The basis of the song culture of the 1990s was the system of musical education created in the 1990s created during the Soviet period, a network of club institutions, the festival motion, the formation of sound recording studios and the appearance of musical radio stations. Keywords: the song culture of Russia, regional culture, the Volgograd region, the popular song, show business.

The Role of Public Libraries of China in Developing the Knowledge and Information­Based Economy

The aim of this paper is to unlock the potential of modern Chinese public libraries as an important factor in developing the knowledge-and information-based economy.Research methodology. The author uses the analysis of statistics on the activities of public libraries in China, the content analysis of their websites, the comparative analysis of innovative products and services that are in demand. The systematic approach to studying the activities of the network of public libraries of the People’s Republic of China made it possible to determine the specific functions of national and regional libraries, to determine the status of their corporate cooperation in improving the quality of meeting the information needs of users.Results. The author reveals the main provisions of the Law on Public Libraries of China (2018) — the first legislative act in the country that regulates all aspects of the activities of the largest type of libraries. The author describes the tasks and functions of public libraries in China as a basic socio-communication institute, which performs information, educational, socio-cultural, socializing, recreational functions, has a powerful potential for enhancing the intellectual level of society, the development of creativity of the general public, in particular children and youth. The author indicates the role of government funding for the modernization of Chinese libraries by the government, creating comfortable conditions for an access for all categories of users to the world’s information resources. The paper highlights the importance of the active development of innovative online and mobile services by public libraries, virtual reality services aimed at implementing youth creative ideas and skills, aspirations for innovative experiments, the acquisition of practical skills of working with high-tech equipment based on the structure of libraries of creative space «i-Space».Novelty. It is shown that in the context of developing the digital economy and knowledge-and information-based society, the priority in public libraries of China is to create the conditions for creative ideas and abilities for young people, aspirations for innovative experiments, and the acquisition of practical skills of working with high-tech equipment (robotized technology, 3D printers, 3D scanners, laser cutters, digital music and video recording studios, virtual reality glasses and helmets, etc.).The practical significance. The experience of Chinese public libraries is worth studying and being implemented in the libraries of those countries that have adopted the government programs to develop the digital society and knowledge-and information-based economy. This experience shows that the diversification of high-tech library services allows them to create “idea incubators” and creative workshops, informal leisure and educational centres for local communities that promote the self-development and realization of creative abilities of young people, form their desire for technical creativity and innovative experiments as a basis for developing the intellectual capital of the country and a key for developing the knowledge-and information-based economy.

«Большая форма» в отечественной рок-музыке 1970–1980-х годов (на примере творчества ВИА «Песняры»)

The article examines the development of the “hybrid” genres and forms in Russian rock music of the 1970s and 1980s. The movement to the direction of large-scale stage form progressed from two sides – the academic tradition expanded and renewed its genre and style spectrum with the aid of the means of rock music, while rock aspired to the level of “high art.” Notwithstanding the difficult conditions of existence and the ideological pressure, rock ensembles were able to realize their large- scale artistic conceptions. The attention of the author of the article is concentrated on the genres of rock opera and rock cantata and their examples in the artistic work of VIE (vocal-instrumental ensembles), which have previously not been examined in research literature. The main material is presented by musical compositions from the repertoire of the Belorussian VIE “Pesnyary” – the rock opera “Pesn' o dole” [“The Song of the Lot”] (music by Vladimir Mulyavin) and the rock cantata “Guslyar” [“Psaltery Player”] (music by Igor Luchenok). They are analyzed in terms of the peculiarities of dramaturgy, the development of the storyline and of musical thematicism, the sound texture, the figurative characteristics of the protagonists, the stylistic synthesis (on the basis of folk music, various trends in rock music, jazz and popular song); examination is made of aspects of stage performance and studio recordings. The conclusion is arrived at about the close proximity of such types of experiments of the VIE and rock groups to quests of the academic musical tradition of the second half of the 20th century. Keywords: rock music, rock opera, rock cantata, rock theater, VIE, vocal-instrumental ensemble, “Pesnyary,” Vladimir Mulyavin, Igor Luchenok, synthesis of genre and style.

Structure and Proportion in Hindustani Ālāp

In this paper, I investigate structural proportions in improvised Hindustani (North Indian) vocal music. 235 examples of two types of ālāp were examined: 175 in the genre of khayāl, 60 in the genre of dhrupad. Both studio recordings and recordings of concerts were used. Three sets of proportions were investigated: the climactic arrival at the upper tonic as a proportion of the time till a point of structural change that is made explicit through rhythmic intensification (C:R), the first point as a proportion of the whole (C:W), and point of rhythmic intensification as a proportion of the whole (R:W). Average proportions for each genre, and the degree of consistency-flexibility within each genre were measured. The results show that proportions may vary between genres, but that flexibility-consistency does not. The data obtained were also used to investigate proportions and consistency-flexibility amongst singers of similar stylistic training, across individual singers, and across different performances by the same singer. The conclusions are followed by suggestions for a further, emic-driven examination of proportionality.

A Mathematical Programming Approach for Product Selection with Multiple Criteria

Product selection is very important for customer who looks for functionalities of the product. To get the best product with the available budget, multiple criteria should be considered simultaneously while making decision. In this paper, we propose a multi-objective decision model for selecting the most suitable product for the customers. The model is tested by using a real case of power unit selection in studio recording, and the results are presented.

Alone in a Crowded Room: The Impact of Crowd Noise in Music Recordings on Social Facilitation, Mental Imagery, and Cognitive Processing

This study investigates the role of crowd noise in the elicitation of social facilitation, mental imagery, arousal, and cognitive resource allocation. Participants (N = 60) listened to 8 total songs, 4 where artificial crowd noise was used to simulate a live recording and 4 that were the untouched studio recordings. Results indicate that crowd noise does not elicit greater enjoyment or mental imagery, but it does elicit greater allocation of cognitive resources and lower arousal over time, indicative of social facilitation. These results indicate that crowd noise is better defined as a content feature rather than a structural feature.

Challenging authenticity: fakes and forgeries in rock music

AbstractAuthenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This article examines the nature and motives of faking in recorded music, such as inventing imaginary groups or passing off studio recordings as live performances. In addition to a survey of types of fakes and the motives of those responsible for them, the article presents two case studies, one of the ‘fake’ American group the Residents, the other of the Unknown Deutschland series of releases, purporting to be hitherto unknown recordings of German rock groups from the 1970s. By examining the critical reception of these cases and taking into account ethical and aesthetic considerations, the article argues that the relationship between the authentic (the ‘real’) and the inauthentic (the ‘fake’) is complex. It concludes that, to judge from fans’ responses at least, the fake can be judged as possessing cultural value and may even be considered as authentic.

Analogisen miksauskonsolin elinkaari kolmen laiteyksilön käyttövaiheiden kautta tarkasteltuna

Mikksauskonsoli (engl. Mixing Console, saks. Mischpult) on nimitys musiikkistudioiden keskeiselle äänityslaitteelle. Laite on keskeinen sananmukaisesti, koska se sijaitsee keskellä studion äänitarkkaamoa, eikä laitetta voi olla kokonsa ja sijaintinsa vuoksi huomaamatta. Miksauskonsolin tärkein tehtävä on miksata eli sekoittaa eri äänilähteiden signaalit summasignaaliksi. Konsoli-termi viittaa kaappimaiseen, usein kaltevaan ulkomuotoon ja fyysiseen kokoon. Muita yleisiä laitetyypin nimityksiä ovat miksauspöytä (Mixing Desk, Mixing Board) viitaten pöytämäiseen ulkomuotoon tai pelkkä mikseri (Mixer) viitaten toiminnallisuuteen. Tämä artikkeli käsittelee analogiaelektroniikkaan perustuvien miksauskonsolien kehitystä kolmen esimerkkilaitteen kautta. Erityisesti tekstissä keskitytään käyttäjien tapoihin soveltaa mikseriteknologiaa sekä siihen, miten käyttötavat ovat yhdessä elektroniikan kehityksen kanssa vaikuttaneet mikseriteknologian kehitykseen.

REPRESENTATIONS OF DECAY IN THE WORKS OF CAT HOPE

AbstractThis article considers the ‘representation of decay’ in selected concert works by the Australian composer Cat Hope. It draws on a mixed-method research methodology, comparing the conceptual aspects of Hope's oeuvre with analyses of studio and live recordings of Hope's work and discussing how such ideas of ‘decay’ may play out in the sonic world. Two forms of spectral analysis are employed: firstly the analysis of spectral parameters roughness, noisiness, brightness, pitch, and centroid, and secondly a visualisation of the music as a spectrogram. The data for the spectral analyses are derived from Alexander Harker's spectral descriptor tools for MaxMSP which record a value for each parameter every 25 milliseconds. At times, values are normalised within a range of 0 and 1, as representative of how listeners experience parametrical changes (i.e. dynamics, in relative terms rather than absolutes in relation to other sounds in the work). Importantly, perception of noisiness is more acute at frequencies in which the auditory critical bands are wider, below 250 Hz (roughly below middle C), precisely the upper range specified by Hope to define instruments suitable for the Australian Bass Orchestra.

“Total Trash”

“Total Trash”

Maker music: Incorporating the maker and hacker community into music technology education

Music Production and Technology education has traditionally concentrated on audio engineering, studio recording techniques with the focus of preparing students for a career as a producer or engineer. While necessary to retain the fundamentals of audio and recording, music technology education could do a service to students by including topics from the maker community by encouraging technology innovation. While some topics such as synthesis, programming and electronics are taught in graduate programmes, these are still seen as ‘specialty’ topics and students in undergraduate programmes miss out on learning other technologies and career paths that could benefit them. I would argue that by not updating the topics in music technology education that this has contributed to the stale output of the music industry within changing times. By incorporating topics such as microcontrollers, interaction and programming, students could discover new ways to work with music and learn skills that will give them more career opportunities. This article will discuss the ideals of the maker and music hacking movement, current pedagogy in Music Production and Technology degree programmes in the United States and United Kingdom and European Union, and the advantages of merging invention and DIY education into the current music technology and music production pedagogy.