東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Linked to FindBook

Google Book

Amazon

博客來

Sound Judgements : = Music Education Framework for Guiding Digital Mixing Practice.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sound Judgements :/
Reminder of title:	Music Education Framework for Guiding Digital Mixing Practice.
Author:	Kapron, Artur.
Description:	1 online resource (193 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
Contained By:	Dissertations Abstracts International84-09A.
Subject:	Listening. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30331164click for full text (PQDT)
ISBN:	9798374477894

Sound Judgements : = Music Education Framework for Guiding Digital Mixing Practice.
Kapron, Artur.

Sound Judgements :Music Education Framework for Guiding Digital Mixing Practice. - 1 online resource (193 pages)

Source: Dissertations Abstracts International, Volume: 84-09, Section: A.

Thesis (Ph.D.)--The University of Western Ontario (Canada), 2022.

Includes bibliographical references

Mixing is an intermediary process within audio production wherein the aesthetic and technical qualities of musical compositions are further enhanced and refined. Most music perceived via audio-playback devices is mixed to sound a certain way. By understanding why recordings 'sound' how they do, musicians, music educators, and novice mixers can acquire a greater appreciation for mixing while considering how this process might affect their own performance practices (Hodgson 2019; Fisher, 1998). Knowing how and what to listen for when mixing is highly subjective, as people experience and describe sounds differently. Indeed, mixing is illusory as listeners are presented with an apparent single acoustic phenomenon (the mix) with all the sounds blended to complement one another to sound aesthetically pleasing.This study introduces readers to a flexible music education learning framework involving principles, guidelines, and strategies which students and music educators of secondary and post-secondary levels may refer to when learning to mix. Such a framework outlines ways of listening, evaluating, and mixing sounds through reiterative decision-making processes. The researcher's purpose of this study was to engage firsthand in mixing practice through autoethnography to experience, explore, and document the craft's musical potentialities. One of the researcher's primary goals as a novice mixer was thus to make musical arrangements 'sound better.' It is what constitutes 'better' that makes studying mixing practice mysterious and highly subjective, although mixing processes also involve objective, numerical, and scientific values (i.e., Hertz frequencies, decibels, etc.).Among the significant findings of the study were important insights into the elusive mixing goals of improving the 'musicality' of arrangements and exploring the skills and competencies necessary for students to learn how to mix with a technical and aesthetic mindset. Cultivating a sense of musicality within mixes is difficult, enigmatic, and an utmost mixing goal due to the lack of 'one-size-fits-all' solutions and the accessibility of mixing tools. Beginners might be overwhelmed if not provided with a learning framework for mixing that includes helpful guidelines and possible strategies to make sense of what they see, hear, and can do musically.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798374477894Subjects--Topical Terms:

530843
Listening.
Index Terms--Genre/Form:

542853
Electronic books.

Sound Judgements : = Music Education Framework for Guiding Digital Mixing Practice.
LDR:03706nmm a2200385K 4500 001 2359115
005 20230906055318.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798374477894
035 $a (MiAaPQ)AAI30331164
035 $a (MiAaPQ)oaiirlibuwocaetd11774
035 $a AAI30331164
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Kapron, Artur. $3 3699691
245 1 0 $a Sound Judgements : $b Music Education Framework for Guiding Digital Mixing Practice.
264 0 $c 2022
300 $a 1 online resource (193 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
500 $a Advisor: Woodford, Paul G.; Hodgson, Jay.
502 $a Thesis (Ph.D.)--The University of Western Ontario (Canada), 2022.
504 $a Includes bibliographical references
520 $a Mixing is an intermediary process within audio production wherein the aesthetic and technical qualities of musical compositions are further enhanced and refined. Most music perceived via audio-playback devices is mixed to sound a certain way. By understanding why recordings 'sound' how they do, musicians, music educators, and novice mixers can acquire a greater appreciation for mixing while considering how this process might affect their own performance practices (Hodgson 2019; Fisher, 1998). Knowing how and what to listen for when mixing is highly subjective, as people experience and describe sounds differently. Indeed, mixing is illusory as listeners are presented with an apparent single acoustic phenomenon (the mix) with all the sounds blended to complement one another to sound aesthetically pleasing.This study introduces readers to a flexible music education learning framework involving principles, guidelines, and strategies which students and music educators of secondary and post-secondary levels may refer to when learning to mix. Such a framework outlines ways of listening, evaluating, and mixing sounds through reiterative decision-making processes. The researcher's purpose of this study was to engage firsthand in mixing practice through autoethnography to experience, explore, and document the craft's musical potentialities. One of the researcher's primary goals as a novice mixer was thus to make musical arrangements 'sound better.' It is what constitutes 'better' that makes studying mixing practice mysterious and highly subjective, although mixing processes also involve objective, numerical, and scientific values (i.e., Hertz frequencies, decibels, etc.).Among the significant findings of the study were important insights into the elusive mixing goals of improving the 'musicality' of arrangements and exploring the skills and competencies necessary for students to learn how to mix with a technical and aesthetic mindset. Cultivating a sense of musicality within mixes is difficult, enigmatic, and an utmost mixing goal due to the lack of 'one-size-fits-all' solutions and the accessibility of mixing tools. Beginners might be overwhelmed if not provided with a learning framework for mixing that includes helpful guidelines and possible strategies to make sense of what they see, hear, and can do musically.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Listening. $3 530843
650 4 $a Music teachers. $3 3483171
650 4 $a Musical performances. $3 3175508
650 4 $a Fine arts. $3 2122690
650 4 $a Music. $3 516178
650 4 $a Music education. $3 3168367
650 4 $a Performing arts. $3 523119
650 4 $a Performing arts education. $3 3173434
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0943
690 $a 0357
690 $a 0413
690 $a 0522
690 $a 0641
690 $a 0457
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a The University of Western Ontario (Canada). $3 1017622
773 0 $t Dissertations Abstracts International $g 84-09A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30331164 $z click for full text (PQDT)