The Value of Curating Music

This article examines the practice of concert organization from an ethical perspective. By examining the field in relation to the notion of value, it explores the processes by which curators produce live acts, and the issues they face when they do so. The central argument traces a trajectory from the material to the immaterial aspects. The first part (Context and Value) shows how financial and cultural matters are embedded into live music production, and frames curatorship as the articulation of their co-dependent relations. The second part (Praxis) explores how music curators breathe value creation in their work context, by comparing interviews with the directors of Venice Biennale Musica, London Contemporary Music Festival, and No-Nation. The third part (Risk and Ethics) introduces risk-taking as a unit of value measurement, and points out the force of the curatorial in its power to confer value.

Black Church Rumor

In 1992, Jet published “James Cleveland Infected L.A. Youth with HIV, $9 Mil. Lawsuit Claims,” which detailed how the Chicago-born gospel musician had not only allegedly sexually abused his foster son, Christopher B. Harris, but had also “[given] him the AIDS virus.” This article takes this incident of rumor or accusation as a critical opportunity to think about the archival reality of Black queer sexuality, on one hand, and sexual violence in Black gospel music history on the other. Using the legal documents from Christopher B. Harris v. Irwin Goldring as Special Administrator of the Estate of James Cleveland and commentary from Cleveland's contemporaries, it exhumes Cleveland from dusty church closets for consideration in the history of HIV and AIDS in African American Protestant church and gospel communities and in Black queer studies, ethnomusicology, and gender and sexuality studies. Further, it theorizes “Black church rumor” as a lens for Black queer religious studies and argues that Cleveland's perceived queer sexuality distracted from Harris's allegations of sexual abuse. Thus, it situates Cleveland—the person, the preacher, and the gospel legend—in the literature on “down low” sexuality and explicates the implications of Cleveland's legacy and role in Black gospel music production.

Fruit Keyboard using Arduino Uno

“What Is Engineering?, Engineering is the mean by which we take “our” scientific knowledge of the world and use it to invent, design and build new technology. In the 21st century if we are to look around in our society, we will see most of it displays several marvels of engineering, which shows why it is an important discipline. The field of engineering consists of a vast sea of knowledge whose boundary is infinite. And through the discoveries and breakthroughs made by engineers almost every day, the expertise and information keep growing. Now we are here to introduce “our” device which can produce different sound just by touching the fruits. This device can also help us to produce different genres of music. This paper can also explain the working principle and application of a FRUIT BOARD using Arduino, this can also be used as a tool for students which are learning or pursuing music. The fruit board using Arduino uno can provide a quick tool in production of music. Today the increasing number of people interested in music can easily afford the Fruit board because it can be also connected with some of the standard softwares such as flstudios, ableton live and logic pro, which makes the music production easy and cheaper. This paper can provide a glimpse of fruit board using Arduino, working principle, software implementation and their applications.

A General Framework for Visualization of Sound Collections in Musical Interfaces

While audio data play an increasingly central role in computer-based music production, interaction with large sound collections in most available music creation and production environments is very often still limited to scrolling long lists of file names. This paper describes a general framework for devising interactive applications based on the content-based visualization of sound collections. The proposed framework allows for a modular combination of different techniques for sound segmentation, analysis, and dimensionality reduction, using the reduced feature space for interactive applications. We analyze several prototypes presented in the literature and describe their limitations. We propose a more general framework that can be used flexibly to devise music creation interfaces. The proposed approach includes several novel contributions with respect to previously used pipelines, such as using unsupervised feature learning, content-based sound icons, and control of the output space layout. We present an implementation of the framework using the SuperCollider computer music language, and three example prototypes demonstrating its use for data-driven music interfaces. Our results demonstrate the potential of unsupervised machine learning and visualization for creative applications in computer music.

Pop vs rock: A comparison study of managing sessions in the recording studio and the influences of genre

This study examined the recording session management approaches of two music producers, Phil Harding and Greg Haver, to ascertain if and how their different approaches impact the outcomes of music production projects. Semi-structured interviews were conducted with each producer to gain insight into their approaches generally, and also, as a point of comparison, their work on the educational Gus Dudgeon Foundation/Joint Audio Media Education Support (GDF/JAMES) summer recording sessions specifically. Thematic analyses of the interviews revealed that the producers’ respective approaches are influenced by the genres in which each predominantly works. Harding, a pop producer, is very systematic. Haver, who is better known for his work in rock, uses an organic approach. Consequently, there were some clear differences in their decision making and organizational strategies at the GDF/JAMES sessions. The producers used different criteria to choose a project/artist. Each used distinctive approaches in pre-production (i.e. work on song arrangements and other technical musical decisions), production (recording) and mixing. Still, both produced pop recordings that largely conform to pop norms. Both recordings have similar pop arrangements and meet commercial standards. Findings provide new understanding of session management techniques that can benefit both music production education and practitioners.

Using DAWs as modelling tools for learning design sound-based applications in education

This article discusses a proposed design and sound tool teaching and learning approach, with interesting solution-based challenges not immediately associated with traditional DAW instruction. By stepping outside of the usual boundaries of DAW use, music production teaching is presented with a number of novel learning challenges. There is potential for DAWs, especially in educational settings, to be used to enhance the discipline, encourage experimentation and stimulate design-based ideas that promote DAW use beyond the mixing and engineering type contexts. By shifting DAWs into areas of sound-based music, as proposed by Landy, this innovative approach, facilitates deeper, experiential learning where sound is treated as the basic musical unit, therefore allowing for a potentially greater range of designed outputs.

Voices of Vietnam

On September 2, 1945, Ho Chi Minh read the Declaration of Independence over a makeshift wired loudspeaker system to thousands of listeners in Hanoi. Five days later, Ho’s Viet Minh forces set up a clandestine radio station using equipment brought to Southeast Asia by colonial traders. The revolutionaries garnered support for their coalition on air by interspersing political narratives with red music (nhạc đỏ). Voice of Vietnam Radio (VOV) grew from these communist and colonial foundations to become one of the largest producers of music in contemporary Vietnam. In the first comprehensive English-language study on the history of radio music in mainland Southeast Asia, Lonán Ó Briain examines the broadcast voices that reconfigured Vietnam’s cultural, social, and political landscape over a century. Ó Briain draws on a year of ethnographic fieldwork at the VOV studios (2016–17), interviews with radio employees and listeners, historical recordings and broadcasts, and archival research in Vietnam, France, and the United States. From the Indochinese radio clubs of the 1920s to the 75th anniversary celebrations of the VOV in 2020, Voices of Vietnam offers a fresh perspective on this turbulent period by demonstrating how music production and sound reproduction are integral to the unyielding process of state formation.