An Introduction to Music Technology, Second Edition provides a clear overview of the essential elements of music technology for today’s musician. This book focuses on the topics that underlie the hardware and software in use today: Sound, Audio, MIDI, Computer Notation, and Computer- Assisted Instruction. Appendices cover necessary computer hardware and software concepts. Written for both music technology majors and non-majors, this textbook introduces fundamental principles and practices so students can learn to work with a wide range of software programs, adapt to new music technologies, and apply music technology in their performance, composition, teaching, and analysis. Features: Thorough explanations of key topics in music technology Content applicable to all software and hardware, not linked to just one piece of software or gear In-depth discussion of digital audio topics, such as sampling rates, resolutions, and file formats Explanations of standard audio plug-ins including dynamics processors, EQs, and delay based effects Coverage of synthesis and sampling in software instruments Pedagogical features, including: Further Reading sections that allow the student to delve deeper into topics of interest Suggested Activities that can be carried out with a variety of different programs Key Terms at the end of each chapter What Do I Need? Chapters covering the types of hardware and software needed in order to put together Audio and MIDI systems A companion website with links to audio examples that demonstrate various concepts, step-by-step tutorials, relevant hardware, software, and additional audio and video resources. The new edition has been fully updated to cover new technologies that have emerged since the first edition, including iOS and mobile platforms, online notation software, alternate controllers, and Open Sound Control (OSC).

This is an introduction to basic music technology, including acoustics for sound production and analysis, Fourier, frequency modulation, wavelets, and physical modeling and a classification of musical instruments and sound spaces for tuning and counterpoint. The acoustical theory is applied to its implementation in analogue and digital technology, including a detailed discussion of Fast Fourier Transform and MP3 compression. Beyond acoustics, the book discusses important symbolic sound event representation and software as typically realized by MIDI and denotator formalisms. The concluding chapters deal with globalization of music on the Internet, referring to iTunes, Spotify and similar environments. The book will be valuable for students of music, music informatics, and sound engineering.

Music Technology and the Project Studio: Synthesis and Sampling provides clear explanations of synthesis and sampling techniques and how to use them effectively and creatively. Starting with analog-style synthesis as a basic model, this textbook explores in detail how messages from a MIDI controller or sequencer are used to control elements of a synthesizer to create rich, dynamic sound. Since samplers and sample players are also common in today’s software, the book explores the details of sampling and the control of sampled instruments with MIDI messages. This book is not limited to any specific software and is general enough to apply to many different software instruments. Overviews of sound and digital audio provide students with a set of common concepts used throughout the text, and "Technically Speaking" sidebars offer detailed explanations of advanced technical concepts, preparing students for future studies in sound synthesis. Music Technology and the Project Studio: Synthesis and Sampling is an ideal follow-up to the author’s An Introduction to Music Technology, although each book can be used independently. The Companion Website includes: Audio examples demonstrating synthesis and sampling techniques Interactive software that allows the reader to experiment with various synthesis techniques Guides relating the material in the book to various software synthesizers and samplers Links to relevant resources, examples, and software

An engaging and user-friendly introduction to the world of music technology, perfect for music students with little technical background.

The use of technology in music and education can no longer be described as a recent development. Music learners actively engage with technology in their music making, regardless of the opportunities afforded to them in formal settings. This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: music production; game technology; musical creation, experience and understanding. The fourteen chapters reflect the emerging field of the study of technology in music from a pedagogical perspective. Contributions come not only from music pedagogues but also from musicologists, composers and performers working at the forefront of the domain. The authors examine pedagogical practice in the recording studio, how game technology relates to musical creation and expression, the use of technology to create and assess musical compositions, and how technology can foster learning within the field of Special Educational Needs (SEN). In addition, the use of technology in musical performance is examined, with a particular focus on the current trends and the ways it might be reshaped for use within performance practice. This book will be of value to educators, practitioners, musicologists, composers and performers, as well as to scholars with an interest in the critical study of how technology is used effectively in music and music education.

The Routledge Companion to Music, Technology, and Education is a comprehensive resource that draws together burgeoning research on the use of technology in music education around the world. Rather than following a procedural how-to approach, this companion considers technology, musicianship, and pedagogy from a philosophical, theoretical, and empirically-driven perspective, offering an essential overview of current scholarship while providing support for future research. The 37 chapters in this volume consider the major aspects of the use of technology in music education: Part I. Contexts. Examines the historical and philosophical contexts of technology in music. This section addresses themes such as special education, cognition, experimentation, audience engagement, gender, and information and communication technologies. Part II. Real Worlds. Discusses real world scenarios that relate to music, technology, and education. Topics such as computers, composition, performance, and the curriculum are covered here. Part III. Virtual Worlds. Explores the virtual world of learning through our understanding of media, video games, and online collaboration. Part IV. Developing and Supporting Musicianship. Highlights the framework for providing support and development for teachers, using technology to understand and develop musical understanding. The Routledge Companion to Music, Technology, and Education will appeal to undergraduate and post-graduate students, music educators, teacher training specialists, and music education researchers. It serves as an ideal introduction to the issues surrounding technology in music education.

Featuring 56 lessons by 49 music technology experts from around the world, The Music Technology Cookbook is an all-in-one guide to the world of music technology, covering topics like: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audio books, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, Sonic Pi, P5.js); and, designing instruments (MaKey MaKey). Each lesson tailored for easy use and provides a short description of the activity, keywords, materials needed, teaching context of the contributing author, time required, detailed instructions, modifications for learners, learning outcomes, assessment considerations, and recommendations for further reading. Music educators will appreciate the book's organization into five sections--Beatmaking and Performance; Composition; Multimedia and Interdisciplinary; Production; Programming--which are further organized by levels beginner, intermediate, and advanced. Written for all educational contexts from community organizations and online platforms to universities and colleges, The Music Technology Cookbook offers a recipe for success at any level.

Technology is an increasingly popular part of music education in schools that attracts students to school music who might not otherwise be involved. In many teacher preparation programs, music technology is an afterthought that does not receive the same extensive treatment as do traditional areas of music teaching such as band, orchestra, choir, and general music. This book helps to establish a theoretical and practical foundation for how to teach students to use technology as the major means for developing their musicianship. Including discussions of lesson planning, lesson delivery, and assessment, readers will learn how to gain comfort in the music technology lab. Theory and Practice of Technology-Based Music Instruction also includes "profiles of practice" that dive into the experiences of real teachers in music technology classes, their struggles, their successes, and lessons we can learn from both. In this second edition, new profiles feature Teachers of Color who use technology extensively in their varied types of music teaching. This edition encourages readers to think about issues of inequity of social justice in music education technology and how teachers might begin to address those concerns. Also updated are sections about new standards that may guide music education technology practice, about distance and technology-enhanced learning during the global pandemic, and about ways to integrate technology in emerging contexts.

On rock music and the history of sound recording

Critical of technologically determinist assumptions underpinning current educational policy, Victoria Armstrong argues that this growing technicism has grave implications for the music classroom where composition is often synonymous with the music technology suite. The use of computers and associated compositional software in music education is frequently decontextualized from cultural and social relationships, thereby ignoring the fact that new technologies are used and developed within existing social spaces that are always already delineated along gender lines. Armstrong suggests these gender-technology relations have a profound effect on the ways adolescents compose music as well as how gendered identities in the technologized music classroom are constructed. Drawing together perspectives from the sociology of science and technology studies (STS) and the sociology of music, Armstrong examines the gendered processes and practices that contribute to how students learn about technology, the repertoire of teacher and student talk, its effect on student confidence and the issue of male control of technological knowledge. Even though girls and female teachers have technological knowledge and skill, the continuing material and symbolic associations of technology with men and masculinity contribute to the perception of women as less able and less interested in all things technological. In light of the fact that music technology is now central to many music-making practices across all sectors of education from primary, secondary through to higher education, this book provides a timely critical analysis that powerfully demonstrates why the relationship between gender and music technology should remain an important empirical consideration.

Cloud-Based Music Production: Samples, Synthesis, and Hip-Hop presents a discussion on cloud-based music-making procedures and the musical competencies required to make hip-hop beats. By investigating how hip-hop producers make music using cloud-based music production libraries, this book reveals how those services impact music production en masse. Cloud-Based Music Production takes the reader through the creation of hip-hop beats from start to finish – from selecting samples and synthesizer presets to foundational mixing practices – and includes analysis and discussion of how various samples and synthesizers work together within an arrangement. Through case studies and online audio examples, Shelvock explains how music producers directly modify the sonic characteristics of hip-hop sounds to suit their tastes and elucidates the psychoacoustic and perceptual impact of these aesthetically nuanced music production tasks. Cloud-Based Music Production will be of interest to musicians, producers, mixers and engineers and also provides essential supplementary reading for music technology courses.

Digital technology has profoundly transformed almost all aspects of musical culture. This book explains how and why.

A must-have introduction that bridges the gap between music and computing The rise in number of composer-programmers has given cause for an essential resource that addresses the gap between music and computing and looks at the many different software packages that deal with music technology. This up-to-date book fulfills that demand and deals with both the practical use of technology in music as well as the principles behind the discipline. Aimed at musicians exploring computers and technologists engaged with music, this unique guide merges the two worlds so that both musicians and computer scientists can benefit. Defines computer music and offers a solid introduction to representing music on a computer Examines computer music software, the musical instrument digital interface, virtual studios, file formats, and more Shares recording tips and tricks as well as exercises at the end of each section to enhance your learning experience Reviews sound analysis, processing, synthesis, networks, composition, and modeling Assuming little to no prior experience in computer programming, this engaging book is an ideal starting point for discovering the beauty that can be created when technology and music unite.

Electronic and Experimental Music: Technology, Music, and Culture provides a comprehensive history of electronic music, covering key composers, genres, and techniques used in analog and digital synthesis. This textbook has been extensively revised with the needs of students and instructors in mind. The reader-friendly style, logical organization, and pedagogical features of the fifth edition allow easy access to key ideas, milestones, and concepts. New to this edition: • A companion website, featuring key examples of electronic music, both historical and contemporary. • Listening Guides providing a moment-by-moment annotated exploration of key works of electronic music. • A new chapter—Contemporary Practices in Composing Electronic Music. • Updated presentation of classic electronic music in the United Kingdom, Italy, Latin America, and Asia, covering the history of electronic music globally. • An expanded discussion of early experiments with jazz and electronic music, and the roots of electronic rock. • Additional accounts of the vastly under-reported contributions of women composers in the field. • More photos, scores, and illustrations throughout. The companion website features a number of student and instructor resources, such as additional Listening Guides, links to streaming audio examples and online video resources, PowerPoint slides, and interactive quizzes.

This book explores the relationships between popular music, technology, and the changing media ecosystem. More precisely, it looks at infrastructures and practices of music making and consuming primarily in the post-Napster era of digitization – with some chapters looking back on the technological precursors to digital culture – marked by the emergence of digital tools and platforms such as YouTube or Spotify. The first section provides a critical overview of theories addressing popular music and digital technology, while the second section offers an analysis of the relationship between musical cultures, taste, constructions of authenticity, and technology. The third section offers case studies on the materialities of music consumption from outside the western core of popular music production. The final section reflects on music scenes and the uses and discourses of social media.

Provides an introduction to the nature, synthesis and transformation of sound which forms the basis of digital sound processing for music and multimedia. Background information in computer techniques is included so that you can write computer algorithms to realise new processes central to your own musical and sound processing ideas. Finally, material is inlcuded to explain the way in which people contribute to the development of new kinds of performance and composition systems. Key features of the book include: · Contents structured into free-standing parts for easy navigation · `Flow lines' to suggest alternative paths through the book, depending on the primary interest of the reader. · Practical examples are contained on a supporting website. Digital Sound Processing can be used by anyone, whether from an audio engineering, musical or music technology perspective. Digital sound processing in its various spheres - music technology, studio systems and multimedia - are witnessing the dawning of a new age. The opportunities for involvement in the expansion and development of sound transformation, musical performance and composition are unprecedented. The supporting website (www.york.ac.uk/inst/mustech/dspmm.htm) contains working examples of computer techniques, music synthesis and sound processing.

Digital Sampling is the first book about the design and use of sampling technologies that have shaped the sounds of popular music since the 1980s. Written in two parts, Digital Sampling begins with an exploration of the Fairlight CMI and how artists like Kate Bush and Peter Gabriel used it to sample the sounds of everyday life. It also focuses on E-mu Systems and the use of its keyboards and drum machines in hip-hop. The second part follows users across a range of musical worlds, including US/UK garage, indie folk music, and electronic music made from the sounds of sewers, war zones, and crematoriums. Using material from interviews and concepts from the field of Science and Technology Studies (STS), Digital Sampling provides a new and alternative approach to the study of sampling and is crucial reading for undergraduates, postgraduates, and researchers from a wide range of disciplines, including music technology, media, communication, and cultural studies.

The Digital Musician explores what it means to be a musician in the digital age. It examines musical skills, cultural awareness and artistic identity through the prism of recent technological innovations. New technologies, and especially the new digital technologies, mean that anyone can produce music without musical training. This book asks why make music? what music to make? and how do we know what is good?

Listening to, buying and sharing music is an immensely important part of everyday life. Yet recent technological developments are increasingly changing how we use and consume music. This book collects together the most recent studies of music consumption, and new developments in music technology. It combines the perspectives of both social scientists and technology designers, uncovering how new music technologies are actually being used, along with discussions of new music technologies still in development. With a specific focus on the social nature of music, the book breaks new ground in bringing together discussions of both the social and technological aspects of music use. Chapters cover topics such as the use of the iPod, music technologies which encourage social interaction in public places, and music sharing on the internet. A valuable collection for anyone concerned with the future of music technology, this book will be of particular interest to those designing new music technologies, those working in the music industry, along with students of music and new technology.