Music production by voice commands in a sound perception application
DOI:
https://doi.org/10.47519/eiaerh.v8.2022.ID414Keywords:
Music production, Sound perception, Application developmentAbstract
In this article, we present the prototype of a web application accessible to the visually impaired for music production education and training in sound perception. Through voice commands, the user can mix the music being played by adding and removing musical instruments and audio effects and changing panning. Mixing is of fundamental importance in the musical recording process, but many listeners and musicians are unaware of the tools and techniques used in this stage, not being able to identify such procedures, which give uniqueness and special aesthetic characteristics to a recording, which motivated the development of the proposed app.
Downloads
References
ARAÚJO, D. V. G. Uma breve história da mixagem: Origem, técnicas, percepção e futuros avanços. Campinas, 2015. Dissertação (Mestrado em Música) – Instituto de Artes, Universidade Estadual de Campinas, São Paulo, 2015. Disponível em: https://revistas.nics.unicamp.br/revistas/ojs/index.php/nr/article/view/190. Acesso em: 06 maio 2021.
BENWARD, B.; SAKER, M. Music in theory and practice: v. 1. 8. ed. New York: McGraw-Hill, 2009.
BERNARDES, V. A percepção musical sob a ótica da linguagem. Revista da Abem, v. 9, n. 6, p. 73-82, set. 2001. Disponível em: www.abemeducacaomusical.com.br/revistas/revistaabem/index.php/revistaabem/article/view/444. Acesso em: 05 nov. 2021.
BURGESS, R. J. The art of music production: The theory and practice. 4. ed. New York: Oxford University Press, 2013.
BURGESS, R. J. The history of music production. New York: Oxford University Press, 2014.
CASE, A. U. Mix Smart: Pro audio tips for your multitrack mix. Oxford: Focal Press, 2011.
FORNARI, J. Percepção, cognição e afeto musical. In: KELLER, D. (org.). Criação musical e tecnologias: Teoria e prática interdisciplinar. Goiânia: Anppom, 2010. Disponível em: www.anppom.com.br/ebooks/index.php/ pmb/catalog/book/2. Acesso em: 21 jun. 2021.
GIBSON, D. The art of mixing: A visual guide to recording, engineering, and production. 2. ed. Boston: Thomson Course Technology, 2005.
HOUAISS, A [Instituto]. Houaiss Eletrônico. Versão 3.0. Rio de Janeiro: Objetiva, 2009.
HURON, D. Affect induction through musical sounds: an ethological perspective. Phil. Trans. R. Soc. B, v. 370, n. 1664, mar. 2015. Disponível em: https://royalsocietypublishing.org/doi/full/10.1098/rstb.2014.0098. Acesso em: 10 fev. 2021.
HURON, D. Understanding Music-related emotion: Leslons from Ethology. In: PROC. INTERN. CONF. ON MUSIC PERCEPTION AND COGNITION, 12.; TRIENNIAL CONF. OF THE EUROPEAN SOC. FOR THE COGNITIVE SCIENCES OF MUSIC, 8., 2012, Thessaloniki. Anais […]. Thessaloniki, Greece, 2012.
LERDAHL, F.; JACKENDOFF, R. S. A generative theory of tonal music. 3. ed. London: MIT Press, 1996.
MATUNOBU, Y. Desenvolvimento de software educativo para treinamento em percepção musical. 2010. Monografia (Trabalho de Conclusão de Curso em Ciência da Computação) – Fundação de Ensino Eurípides Soares da Rocha, Centro Universitário Eurípides de Marília, São Paulo, 2010.
MELO, F.; PALOMBINI, C. O objeto sonoro de Pierre Schaeffer: Duas abordagens. In: XVI ANPPOM, 16., 2006, Brasília. Anais […]. Brasília, 2006. Disponível em: https://antigo.anppom. com.br/anais/anaiscongresso_anppom_2006/CDROM/COM/07_Com_TeoComp/sessao04/07COM_TeoComp_0404-173.pdf. Acesso em: 24 maio 2021.
OLSSON, E. Aesthetic signal processing in music production: Is the intended emotional response achieved? Lulea. 2015. Monografia (Trabalho de Conclusão de Curso em Engenharia de Áudio) – Department of Arts, Communication and Education, Lulea University of Technology, 2015. Disponível em: https://www.diva-portal.org/smash/record.jsf?pid=diva2%3A1018575&dswid=-3321. Acesso em: 23 fev. 2021.
RECORDING ACADEMY. Producers & Engineers Wing, Technical Guidelines. Producer Grammy Award Eligibility Crediting Definitions, March 01, 2019. Disponível em: www.grammy. com/sites/com/files/producer_definitions_final_03_01_2019.pdf. Acesso em: 17 jun. 2021.
RONAN, D.; REISS, J. D.; GUNES, H. An empirical approach to the relationship between emotion and music production quality. ArXiv, mar. 2018.
ROVITHIS, E.; MNIESTRIS, A.; FLOROS, A. Educational audio game design: sonification of the curriculum through a role-playing scenario in the audio game ‘Kronos’. In: AM 2014, 9., 2014, New York. Anais […]. New York, NY, USA, 2014.
SCHAFER, R. M. A afinação do mundo. São Paulo: Ed. Unesp, 2001.
SCHAFER, R. M. O ouvido pensante. São Paulo: Fundação Editora da Unesp, 1991.
TENNEY, J.; POLANSKY, L. Temporal Gestalt perception in music. Journal of Music Theory, Autumn, v. 24, n. 2, p. 205-241, 1980. Disponível em: https://www.jstor.org/stable/843503. Acesso em: 19 fev. 2021.
TRIPP, D. Pesquisa-ação: Uma introdução metodológica. Educação e Pesquisa, São Paulo, v. 31, n. 3, p. 443-466, set./dez. 2005. Disponível em: http://educa.fcc.org.br/pdf/ep/v31n03/v31n03a09.pdf. Acesso em: 21 set. 2021.
TURINO, T. Music as social life: The politics of participation. Chicago: The University of Chicago Press, 2008.
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Revista Hipótese
This work is licensed under a Creative Commons Attribution 4.0 International License.
