Buch, Englisch, 576 Seiten, Format (B × H): 203 mm x 254 mm
Buch, Englisch, 576 Seiten, Format (B × H): 203 mm x 254 mm
ISBN: 978-0-19-063579-4
Verlag: Oxford University Press
Experiencing Music Technology is a comprehensive introduction to the broad topic of music technology as it exists in contemporary practice across music making, music production, and music teaching and learning. Unlike other music technology books, EMT is designed not only as a major text for a course of study but also as a resource and reference guide for a wide audience of amateur, student, or professional musicians both inside and outside the academic setting. Although it is introductory in scope, it provides considerable depth of coverage anchored around a thread of ten core music technology competences integrated throughout the book.
The newest edition of EMT enters the world at a time of real change in education that favors independent and creative thinking by learners. Our fervent hope is that the book meets the need of newer trends in music curriculum design to integrate technology understanding into specific courses within the discipline and to serve the needs of more modular course design in creative ways. The exciting development of the e-Book edition with its many links to internal and external resources helps to support multiple courses, curricula, and interdisciplinary connections.
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
- Foreword
- Preface
- Acknowledgements
- Viewport I: Musicians and Their Use of Technology
- Overview
- Music Technology in Practice: College Students at Work in a Recording Session
- Music Technology in Practice: College Students Performing a "Cover" - Rob Dunn and Brittany May
- Project Suggestions for Viewport I
- Module 1: People and Music: Technology's Importance in Changing Times
- Why Study This Module?
- Musicians and Technology
- The Importance of Human Creation
- Changing Patterns of Music Curricular in Higher Education
- Technology Adoption and Change
- Module 2: People Making Technology: The Dance of Music and Technology
- Why Study This Module?
- Ballet of Music and Technology
- Five Periods of Music and Technology
- The Mechanical Age: 1600s to Mid-1800s
- Powered by Electricity: Mid-1800s to Early 1900s
- Vacuum Tubes: Early to Mid-1900s
- Transistors and Miniaturization: 1950s to 1970s
- Personal Computers: Late 1970s to 2000s
- Back to the Future: Key Technologies of the Present
- Module 3: People Competencies for Music Technology
- Why Study This Module?
- People, Procedures, Data, Software, and Hardware
- Core Competencies and Solving Problems
- Module 4: Getting Help
- Why Study this Module?
- Online Support
- People with Technical Knowledge and Skills
- Printed Materials
- Professional Associations
- Professional Conferences
- Module 5: Finding Your Experience Level
- Why Study this Module?
- Growing Levels of Experience
- Considerations for Platform and Operating Systems
- Choosing Hardware
- Choosing Software
- Project Details for Viewport I
- Viewport II: Platforms, Operating Systems, and Internet Concepts for Musicians
- Overview
- Music Technology in Practice: Composer Working with Score -Frank Ticheli
- Project Suggestions for Viewport II
- Module 6: Operating Systems, Digital Work Habits, and Internet Use
- Why Study This Module?
- Devices and Their Operating Systems
- What Is an Operating System and What Is its Purpose?
- Keeping Current
- Basic Functions
- Human Interaction and the Graphical User Interface
- Drives
- Files and Folders
- Connecting Hardware and Internet Connections
- Look and Feel of Devices
- Digital Work Habits
- Naming and Saving on All Devices
- Viruses, Malware and Device Security
- Choosing and Managing Passwords
- Backing Up
- Complexities of Copyright
- Registration
- Length of Copyright
- Notion of "Covers"
- Performance Rights
- Streaming Services
- Fair Use
- Future of Copyright
- Internet-Based Software for Personal and Professional Development
- Service and Hosting
- Web Browsers
- Email
- File Sharing
- Digital Audio Services: Sharing, Streaming, and Purchasing
- Developing a Personal Learning Network (PLN)
- Module 7: Concepts of Computers, Networking, and the Internet
- Why Study This Module?
- Analog to Digital: Computers and the Analog World
- Counting and Thinking with 1 and 0
- Computer Bits and Bytes
- Serial and Parallel: Computers and Their Peripherals
- Network Protocols: Communicating Among Computer Devices
- Internet's Primary Protocol: TCP/IP
- Domain Names and IP Addresses
- Sorting Out Domain Names
- Email Internet Protocols: POP, IMAP, and SMTP
- The World Wide Web: URL, HTTP, HTML, and More
- Web Internet Addresses and Protocols: URLs and HTTP
- Constructing Web Documents: HTML
- Web 2.0: HTML5, CSS, XML and More
- File Formats: Sharing Files
- Packaging and Compressing Sets of Files: ZIP, TAR, Z, DMG, and EXE
- Text Documents: ASCII, RTF, DOC, PAGES, ODT, and PDF
- Music and Audio: WAV, AIF, MIDI and More
- Graphics and Video
- Safe Computing: Backup and the Cloud
- Clone Backup
- Incremental Backup
- Synchronized Backup
- What Backup or Backups to Use?
- Module 8: EMT Workstation Designs: Internals and Connectivity
- Why Study This Module?
- The Five Components of a Computer System
- The Internal Process of Computer Devices
- CPU, GPU, and the Clock
- Memory: RAM and ROM
- Internal Connectivity: SATA and PCIe
- Audio Codecs
- Internal Storage: HDD and SSD
- Chromebook and Mobile Internals
- Chromebooks
- Mobile Devices
- Wired Connectivity
- The Wires: USB and Thunderbolt
- The Protocols: USB and Thunderbolt
- Applying USB and Thunderbolt to Desktop and Mobile Devices
- Wired Internet: Ethernet, Fiber, and More
- Ethernet Internet
- Digital Subscriber Line (DSL) and Cable Internet
- Fiber Internet
- Applications for Wired Internet
- Wireless Connectivity
- Wireless: NFC and Bluetooth
- Wireless: Wi-Fi and Cellular
- Takeaways
- Module 9: EMT Workstation Designs: Internals and Connectivity
- Why Study This Module?
- Input Devices
- Keyboards
- Mouse Devices
- Touch Pads and Screens
- Pencils and Styluses
- Virtual Assistants
- Output Devices
- External Storage: HDD and SSD, Flash and SD, CD and DVD
- Video: VGA, HDMI, DVI, Thunderbolt and More
- Audio Output
- Internet Hardware
- EMT-1 Applications Wrap Up
- The Desktop Workstation
- The Mobile Workstation
- Project Details for Viewport II
- Viewport III: Analog and Digital Audio Basics
- Big Picture: Digital Music Production and Live Performance
- Overview
- Music Technology in Practice: Musicians and Music Production-Henry Panion and Ian Keel
- Suggested Projects for Viewport III
- Module 10: Concepts of Acoustics, Audiology, and Digital Audio
- Why Study This Module?
- Acoustical and Perceptual Dimensions of Sound
- Vibrations, Frequency, and Amplitude
- Envelopes
- Harmonic Spectrum
- Summary of the Acoustic Properties of Sound
- Audiology and the Human Ear
- Components of the Human Ear
- Protecting Ears of Musicians
- Digital Audio: Analog to Digital and Back
- Sampling Rates and Quantizing
- Optimizing the Quality of Digital Audio
- Aliasing, Filters, and Oversampling
- Going Higher: 24 Bits at 96 kHz and Beyond
- Formats and Compression for Storing Digital Audio Files
- Sound Compression
- Lossy Audio: Increasing Compression While Fooling the Ear
- Streaming Audio Files for the Internet
- Music Synthesis Techniques
- Analog Synthesis: Additive, Subtractive, and Distortive
- Physical Modeling
- Digital Wave Synthesis
- Granular Synthesis
- Module 11: Building a Basic Analog and Digital Music Studio
- Why Study This Module?
- Introducing EMT-2 and EMT-3 Music Studio Models
- Sorting Out Audio Plugs and Ports
- Tip, Ring, and Sleeve
- Balanced and Unbalanced
- Impedance
- Analog Audio Studio with EMT-2
- Simple Analog and USB Audio Interfaces
- Connecting to the Outside World: Input and Output
- The Role of a Mixer
- Microphones
- EMT-2 Mobile Considerations
- Web Audio and Web MIDI
- Digital Audio Studio with EMT-3
- Features of Digital Audio Interfaces
- Integrating a USB Audio Interface into the EMT-3 Design
- Sound Drivers and Latency: Why is My Computer Behind the Beat?
- EMT-3 Mobile and Chromebook Considerations
- Storage and Sharing Digital Audio Work
- Digital Music Players and Smartphones
- CD/DVD-R Drives
- Flash Memory and SD Cards
- Cloud-based Storage
- Module 12: Wave Editing and Basic-Level DAW Software
- Why Study This Module?
- Preliminaries
- Understanding Mono, Stereo, Channel and Track
- Wave Editors vs. Basic-Level Digital Audio Workstations
- Installation, Space Use, and Plug-ins
- Importing Pre-Existing Audio
- Recording Live Audio and Auditing Playback
- Choosing the Right Platform
- Exemplar Software: Wave Editors
- Audacity (macOS/Windows/Linux)
- WavePad (Windows, macOS, iOS, iPadOS, Android)
- TwistedWave (macOS, iOS, iPadOS, web-based)
- Introduction to Audio Effects Processing
- Critical Role of Effects
- Families of Effects
- Amplitude
- Sound Quality (Timbre)
- Pitch/Time
- Exemplar Software: Basic-Level DAWs
- GarageBand (macOS)
- Mixcraft Recording Studio (Windows)
- Soundation Chrome Studio (Web-Based)
- Audio Evolution Mobile (iOS, iPadOS, Android)
- Module 13: Concepts of Modular Analog Synthesis and Synthesizers
- Why Study This Module?
- A Bit of Analog History
- Two Pioneers: Buchla, Moog, and Others
- Analog Synthesizers Modules
- Primary Components
- Basic Modules of an Analog Synthesizer
- Adding Elements of Control and Modulation
- Global Controls and Effects
- Virtual Renaissance of Analog Synthesizers
- Minimoog Virtual Analog Synth
- Setting a Patch for the Minimoog Synth
- Getting Started: A Sample of Physical and Virtual Analog Synths
- KORG littleBits Analog Synthesizer Kit
- MonoStereo Synthesizer
- Common Analog Synthesizer (AN Synth)
- ARP ODYSSEi
- Eurorack: Open-Source Virtual Modular Systems and VCV Rack
- Project Details for Viewport III
- Viewport IV: Adding MIDI to the Mix
- Overview
- A Potpourri of Audio and MIDI Effects
- Music Technology in Practice: Music Technology Professor, Composer and Guitaring- V. J. Manzo
- Suggested Projects for Viewport IV
- Module 14: Concepts of MIDI
- Why Study This Module?
- How MIDI Works?
- Understanding MIDI Performance Codes
- MIDI Device Configurations
- Channel Messages
- Defining Channels for MIDI Traffic Flow
- System Messages
- General MIDI
- General MIDI Instrument Groups
- MIDI 2.0 Specifications
- Web MIDI
- Mapping MIDI Codes: Hardware Meets Software
- MIDI Connectivity and Networking
- The Original MIDI Connectivity
- Virtual Wired Solutions: USB and More
- Virtual Wireless Solutions: Bluetooth, Wi-Fi, and More
- Inter-App Solutions: IAC, AU, VST and More
- Storing and Exchanging MIDI Files
- Managing MIDI and Audio Resources
- Apple (macOS) Resources
- Microsoft Windows and Other Resources
- MIDI and Audio Timing: SMPTE, MIDI Time Codes, ADAT, and Word Clock
- Who's Conducting This Group?
- Keeping the FSK Tape Time and SMPTE Time
- Keeping the MIDI Time: MIDI Time Messages
- ADAT and Word Clock Time
- Experiencing MIDI Software and Hardware
- Module 15: MIDI Editing and Basic-Level DAW Software
- Why Study This Module?
- Preliminaries
- MIDI Versus Digital Audio
- MIDI Channels and Timbre Numbers-Getting Connected
- Exemplar Software: Basic Level DAWs and MIDI
- GarageBand (macOS)
- Mixcraft Recording Studio (Windows)
- Studio One Artist (macOS, Windows)
- Soundtrap (Web-Based)
- Audio Evolution Mobile (Android, iOS, iPadOS)
- GarageBand (iPadOS)
- Specialized Software for Mobile Platforms
- DAW: Korg Gadget 2 (iPadOS, macOS)
- DAW: NanoStudio 2 (iPadOS)
- Software Synthesizer: Audio Kit Synth One (iOS, iPadOS)
- Beatbox/Drum Machine: DM1-The Drum Machine (iOS, iPadOS, macOS)
- Workflow Utilities: Audiobus and AUM-Audio Mixer
- Mixing, Mastering, with Basic-Level DAWs
- File Formats and Distribution
- Mixing and Mastering Capabilities for DAWs at All Levels
- Mixing and Mastering: Are They the Same?
- Personal Choices with Mixing and Mastering: A Few Hints
- Module 16: MIDI Hardware: Interfaces and a Cornucopia of Controllers
- Why Study This Module?
- Overview of MIDI Hardware
- MIDI Hardware Basics
- Traditional MIDI Networks
- MIDI THRUs, Mergers, and Patchbays
- EMT-4 Music Studio with MIDI
- The Mobile Version of EMT-4
- Keyboard Controllers
- Pad Controllers
- EMT-5 Enhanced MIDI Music Studio
- Controller Cornucopia: Drums, Guitars, Winds, and More
- Drum Controllers
- Guitar and String Controllers
- Voice Controllers
- Wind Controllers
- Mixer Control Surfaces: Hardware for the Software DAWs
- Hardware Mixer Controllers
- Mapping the Hardware to DAW Software
- Automated Mixing
- Tablets and Smartphones as Mixer Control Surfaces
- Creating New Modes of Expression
- Pioneers Experimenting
- Sweat, Movement, and Biofeedback Controllers
- Experimentation with MIDI and Music Learning
- Hardware Tools for the DIY Experimenter
- Subjective Factors for MIDI Controllers
- Project Details for Viewport IV
- Viewport V: More Advanced Digital Audio Workstations
- Overview
- Music Technology in Practice: Film and TV Composer, Arranger and Producer-Steve Morrell
- Suggested Projects for Viewport V
- Module 17: Multichannel Audio Hardware and Concepts
- Why Study This Module?
- Superheroes: The DSP Algorithms, Chips, and Plug-ins
- Audio Mixer Concepts and Design
- Routing and Channels
- Summing, Buses, and Mixes
- Processing: Effects, Dynamic Processors, and More
- Effect Mixes: Aux and Insert Buses
- More on Mixes for Groups and Effects
- The EMT Digital Audio Workstation Goes Multichannel
- Inputs for Recording or Performing
- Outputs for Recording, Monitor-Studio Audio, and Stage Audio
- EMT-6A: Analog Mixers
- Hands-on with an Analog Mixer
- Advantages and Disadvantages of an Analog Mixer Solution
- EMT-6B: Digital Mixers
- Hands-on with a Digital Mixer
- Hands-on with an Expanded Feature Digital Mixer
- Advantages and Disadvantages of a Digital Mixer Solution
- EMT-6C: Virtual or In-the-Box Mixers
- Hardware Mixer Control Surfaces
- Hands-on with a Multichannel Audio/MIDI Interface
- Hands-on with a Multichannel Mixer Controller
- Advantages and Disadvantages of a Virtual, In-the-Box Mixer Solution
- Three Mixer + Hybrid Solutions Wrap Up
- Just Getting Started
- Ready to Move Up
- A Good Fit for ITB Mixing?
- Mixers for Unique Recording Needs
- Wireless Multichannel Portable Mixers
- Podcasting
- Small Mixers for Small Jobs
- DJ Mixers
- Portable Recorder/Players in the Digital Realm
- Two Scenarios for Portable Applications
- Features in Common
- Features that Differ
- Moving up to Surround Sound
- Module 18 Software for Advanced DAWs
- Why Study This Module?
- The Advanced DAW Landscape
- Eleven Advanced DAWs
- Notable Characteristics
- Which Advanced DAW is Best?
- Exemplar Software
- Logic Pro (macOS)
- Software Similar to Logic Pro
- Auria Pro (iPadOS)
- Ableton Live (macOS, Windows)
- Software Similar to Ableton Live
- Concluding Perspective: Advanced DAWs and Hardware
- Mixers
- DAWs
- Examples of DAW/Hardware Tradeoffs
- Audio Production Timeline
- Project Details for Viewport V
- Viewport VI: Music Notation Production
- Overview
- Music Technology in Practice: Professors and Composers-Chia-ya Hsu and Jenni Brandon
- Suggested Projects for Viewport VI
- Module 19: Representing Music on the Printed or Digital Page
- Why Study This Module?
- How Is Symbolic Music Notation Represented in a Computer?
- Data Structures for Performing and Display
- Translating Data Between Performance and Display
- Tour of Computer Music-Coding Systems
- Pre-1960s: Music Typography and Mechanical Coding
- Mid-1960s to Mid-1970s: Friendlier Text-Based Music Coding
- Late 1970s to Early 1980s: Enter the Personal Computer
- Mid-1980s: The Democratization of Desktop Music Publishing
- Late 1980s and 1990s: Intelligent Rule-Based Music-Coding Systems
- 1990s: Seeking Interchangeable Notation-Coding Systems
- Universal Solution for CMN Coding: MusicXML
- Recordare's MusicXML
- Deciphering MusicXML Tags
- File Formats for Notation Applications
- More on File Formats for Notation Applications
- Music Notation Import and Export Formats
- Sibelius
- Finale
- SmartScore
- Music Fonts for Notation
- Two Flavors of Music Fonts: Bitmapped and Outline
- Standard Music Font Layout (SMuFL)
- Potpourri of Music Fonts
- Is WYPWYP Music Software Possible?
- Module 20: Entry Techniques for Scorewriters
- Why Study This Module?
- Entry of Symbols
- Alphanumeric Keyboards, Key Shortcuts, and Numeric Keypads
- Mouse with Icons, Palettes, and Ribbon
- Step-time with MIDI Keyboard and Virtual Keyboard
- Real-Time MIDI Recording
- Real-time Recording with Tap or Foot Pedal
- Live or Recorded Audio
- Handwritten Notation
- Closing Thoughts on Entry Techniques for Music Notation
- Module 21: Software for Scorewriting, Scanning, and Digital Music Readers
- Why Study This Module
- Scorewriting Software
- Six Exemplar Scorewriters for Desktop Computers
- Software Choice: Music Content Requirements
- Basic Setup and Operation
- Note Entry
- Basic Editing
- Editing Music Details
- Playback, Printing, and Saving/Sharing
- Specialized Capabilities Overall
- Other Scorewriter Software for Desktop Computers
- Scorewriters for Mobile Devices
- Mobile Options for Scorewriting Exemplar Software
- StaffPad (iPadOS, Windows)
- Still More Options for Scorewriter Mobile Apps
- Optical and Audio Music Scanning Software
- Characteristics of Optical and Audio Music Scanning Software
- SmartScore X2 (macOS, Windows)
- Music-to-XML (macOS, Windows
- PhotoScore Ultimate and NotateMe Ultimate 2020 (macOS, Windows)
- AudioScore Ultimate 2020 (macOS, Windows)
- ScanScore (macOS, Windows)
- PlayScore 2 Professional (iOS, iPadOS, Android)
- Digital Music Reader Applications
- Characteristics of Digital Music Readers
- forScore (iOS, iPadOS)
- Newzik (iOS, iPadOS)
- TomPlay (iOS, iPadOS, Android, Windows, MacOS, Web-Based)
- Other Digital Music Readers
- Module 22: Hardware for Music Printing, Scanning, and Mobile Music Reading
- Why Study This Module?
- Printers for Music Notation
- Overview of Printer Concepts and Operations
- The Mechanics of Inkjet and Laser Printing
- Physical Properties in Common with Inkjet and Laser Printers
- Printing Music Parts and Scores
- Setting Up Music Page Sizes for Printing from a Scorewriter
- Final Notes on Laser and Inkjet Printers for Music
- Scanners and OMR
- The Mechanics of a Scanner
- Optical Music Recognition (OMR)
- Accessories for Digital Music Readers
- Page Turners
- Tablet Mounts
- Pencil and Stylus
- Project Details for Viewport VI
- Viewport VII. Software for Music Teaching and Learning
- Overview
- Music Technology in Practice: Music Clinician and Music Educator-Barbara Freedman
- Suggested Projects for Viewport VII
- Module 23: Software and Resources for Music Teaching and Learning
- Why Study This Module?
- Changing Landscape of Music Pedagogy
- Scenarios to Consider
- Underlying Themes
- Pedagogical Skill and Knowledge to Use Technology
- Resources Dedicated to Music Teaching and Learning
- Listening/Conceptual Study: Younger Learners
- Listening/Conceptual Study: More Advanced Learners
- Performance: Younger Learners
- Performance: More Advanced Learners
- Composition: Younger Learners
- Composition: More Advanced Learners
- Module 24: Further Technology Resources for Teaching and Learning
- Why Study This Module?
- Music-Related Website Resources
- Interdisciplinary Resources
- Podcasts
- Portals of Music Teaching Resources
- Portals for Audio/Printed Music
- Music Education Blogs
- General Technological Resources
- Distance Learning and Conferencing
- Learning Management Systems
- Portfolio Management
- Video Applications
- Assessment Aids
- Social Media and Building a Personal Learning Network (PLN)
- Social Media in Action for Music Teaching and Learning
- Personal Learning Networks
- Music Production Content in Service to Music Teaching and Learning
- Project Details for Viewport VII
- Postlude
- Appendices
- A. EMT Workstation Equipment Guide and Codes
- B. Selected Readings
- C. EMT Competency Checklist
- Trademarks
