University of Sheffield Sound Studios (USSS) -Studio Report (original) (raw)
Studio Report: Music Research Centre, Department Of Music, University Of York
2005
The Sir Jack Lyons Music Research Centre (mrc) opened in April 2004 as a new addition to the Department of Music at the University of York. This paper describes the concept and design of the Centre, its development and facilities. The mrc was created to provide high quality acoustic spaces for practice based research, technical research and postgraduate training in contemporary applications of technology in music.
Studio Report – Sydney Conservatorium of Music, University of Sydney
2006
This report will give an overview of current activities in music technology at the Sydney Conservatorium of Music. Electroacoustic composition is a principal focus of the composition degree at the Conservatorium, and music technology is integral to the learning and teaching and research in music education, performance and musicology. 2006 saw the first enrolments in Creative Sound Production, which aims to provide students with the aesthetic as well as technical foundations of sound recording.
Studio Report - Sydney Conservatorium of Music
2006
This report will give an overview of current activities in music technology at the Sydney Conservatorium of Music. Electroacoustic composition is a principal focus of the composition degree at the Conservatorium, and music technology is integral to the learning and teaching and research in music education, performance and musicology. 2006 saw the first enrolments in Creative Sound Production, which aims to provide students with the aesthetic as well as technical foundations of sound recording.
2013
The computer music studios of the composition department at Hanyang University in Seoul, Korea have recently been linked to a newly-created autonomous organization called CREAMA: the Center for Research in Electro-Acoustic Music and Audio. Over the past handful of years the Hanyang University’s studios have been active both nationally and internationally in the realms of electronic and computer music pedagogy, research, creation and performance, and the new connection with CREAMA will help continue to develop these activities and promote their visibility outside the confines of the university. Nonetheless, the studios and the university’s computer music degree program (recently expanded to encompass both undergraduate and doctoral-level students) are both closely associated with the activities of the center.
sis and machine learning to search for pa erns in large collections of audio. Christophe Rhodes (Goldsmiths), Chris Cannam (Queen Mary) and Weigl showed us some tools for extracting and visualizing audio features (such as amplitude, timbre, tempo, pitch and so on) using Vamp plugins and the software Sonic Visualiser. Ben Fields (Goldsmiths) and Tillman Weyde (City University London) presented the Digital Music Lab project (a collaboration between City University, Queen Mary, University College London and the British Library) and the interface developed by it (Digital Music Lab VIS). Through this tool, we were able to explore, analyse and compare large audio music collections from the British Library, CHARM (Centre for the History and Analysis of Recorded Music) and I Like Music.
Rast Musicology Journal - 9(2) December 2021
Rast Musicology Journal , 2021
Dear authors, referees and readers of Rast Musicology Journal Rast Musicology Journal creates many bridges in terms of being an academic journal that was born at the intersection of Eastern and Western music. One of these bridges was laid with the International Rast Music Congress held between 3-5 December 2021. Important academicians from many countries of the world attended the International Rast Music Congress. We believe that the IRMC will continue to evolve as a platform for important discussions for music research. The second congress is planned to be in May 2021. The publication of the articles selected in the congress is supported by our journal. This year, the preparations for the special issue of Rast Musicology Journal, Interdisciplinary Music Studies, are continuing. We would like to thank everyone who contributed to our special issue. We share our decision to publish Rast Musicology Journal in 4 issues in March, June, September and December in 2022 with all our readers and writers. The trust in Rast Musicology Journal makes us happy. However, it creates quite a burden and responsibility in the article evaluation processes. In this respect, we would like to thank our authors for their patience and understanding. Best regards
The Bloomsbury Handbook of Sound Art, 2020
This chapter focusses on the second-generation of Italian studios, the S 2F M (Studio di Fonologia Musicale di Firenze) funded by Pietro Grossi in Florence in 1963; the SMET (Studio di Musica Elettronica di Torino) funded in Turin by Enore Zaffiri in 1964, and the Gruppo N.P.S. (Nuove Proposte Sonore) funded in Padova by Teresa Rampazzi and Ennio Chiggio in 1965. Those studios aimed not only at supporting collaboration between composers, musicians and technicians within their framework, but fully open to national and international networks. I pinpoint differences and analogies between the studios, above all – in the wake of the Western zeitgeist of the late 1960s – the mutual involvement, transfer of expertise, anonymous artworks, relationship of reciprocal hospitality, deliberate lack of authorship (at least at the beginning), and the merging of music with visual art to create new artworks, as ways to break the rules of closed art forms and traditional music. The chapter also includes brief music analyses and contextualization of the studios’ sound works, as well as discussions of the literature these pioneers produced to corroborate their artistic visions in contrast with the mainstream music scene and music composition trends, and a discussion of the books they read to validate their positions. The radical aesthetical and social positions, in contrast with the desire of these pioneers to introduce the new music into the traditional institutional scene (namely the conservatories of music), is also discussed.