Video on music

City of birmingham university

The BSc (Hons) Music Technology study programme is aimed at creating multi-skilled and versatile graduates who can use technology to create, perform and distribute music, as well understand the underlying principles that are needed to make informed decisions about technologies.

Graduates will be fully prepared for employment in this dynamic sector. They will have a firm scientific understanding of the technology employed in this fast-evolving business and an understanding of business principles that will inform and augment their creative abilities and practical skills in music production.

What i will need a miniumum of :

• 300 points. Minimum of two 6-unit or one 12-unit A-Level (GCE or VCE)
• National Diploma with Merit Distinction Distinction
• Advanced Diplomas are accepted
• AGNVQ overall Merit + GCSE Mathematics C
• GCSE Mathematics and English grade C or equivalent must be offered

Creating a record

Phonograph

The phonograph was developed as a result of Thomas Edison's work on two other inventions, the telegraph and the telephone. In 1877, Edison was working on a machine that would transcribe telegraphic messages through indentations on paper tape, which could later be sent over the telegraph repeatedly. This development led Edison to speculate that a telephone message could also be recorded in a similar fashion. He experimented with a diaphragm which had an embossing point and was held against rapidly-moving paraffin paper. The speaking vibrations made indentations in the paper. Edison later changed the paper to a metal cylinder with tin foil wrapped around it. The machine had two diaphragm-and-needle units, one for recording, and one for playback. When one would speak into a mouthpiece, the sound vibrations would be indented onto the cylinder by the recording needle in a vertical (or hill and dale) groove pattern. Edison gave a sketch of the machine to his mechanic, John Kruesi, to build, which Kruesi supposedly did within 30 hours. Edison immediately tested the machine by speaking the nursery rhyme into the mouthpiece, "Mary had a little lamb." To his amazement, the machine played his words back to him.

Home phonograph

Businessman Jesse H. Lippincott assumed control of the phonograph companies by becoming sole licensee of the American Graphophone Company and by purchasing the Edison Phonograph Company from Edison. In an arrangement which eventually included most other phonograph makers as well, he formed the North American Phonograph Company on July 14, 1888. Lippincott saw the potential use of the phonograph only in the business field and leased the phonographs as office dictating machines to various member companies which each had its own sales territory. Unfortunately, this business did not prove to be very profitable, receiving significant opposition from stenographers.

Meanwhile, the Edison Factory produced talking dolls in 1890 for the Edison Phonograph Toy Manufacturing Co. The dolls contained tiny wax cylinders. Edison's relationship with the company ended in March of 1891, and the dolls are very rare today. The Edison Phonograph Works also produced musical cylinders for coin-slot phonographs which some of the subsidiary companies had started to use. These proto-"jukeboxes" were a development which pointed to the future of phonographs as entertainment machines.

In the fall of 1890, Lippincott fell ill and lost control of the North American Phonograph Co. to Edison, who was its principal creditor. Edison changed the policy of rentals to outright sales of the machines, but changed little else.

Edison increased the entertainment offerings on his cylinders, which by 1892 were made of a wax known among collectors today as "brown wax." Although called by this name, the cylinders could range in color from off-white to light tan to dark brown. An announcement at the beginning of the cylinder would typically indicate the title, artist, and company.

The Gramophone

Early attempts to design a consumer sound or music playing gadget began in 1877 when Thomas Edison invented his tin-foil phonograph. The word "phonograph" was Edison's trade name for his device, which played recorded sounds from round cylinders. The sound quality on the phonograph was bad and each recording lasted for one only play. Edison's phonograph was followed by Alexander Graham Bell's graphophone. The graphophone used wax cylinders which could be played many times, however, each cylinder had to be recorded separately making the mass reproduction of the same music or sounds impossible with the graphophone.

Modern Record Players

Record players generate sound by the disc moving. This record player has been improved since they were first invented. It was created in the 80s when it was pitched as portable. There is a new version that runs on batteries. They are under £100 if you buy them. The vinyl record is like the playback process, except in reverse. Instead of passing a stylus over grooves to recreate a recording, an album cutter connected to an input source passes over a blank disc

Open Reel tape recorder

Reel-to-reel, open reel tape recording is the form of magnetic tape audio recording in which the recording medium is held on a reel, rather than being securely contained within a cassette.In use, the supply reel or feed reel containing the tape is mounted on a spindle; the end of the tape is manually pulled out of the reel, threaded through mechanical guides and a tape head assembly, and attached by friction to the hub of a second, initially empty takeup reel. The arrangement is similar to that used for motion picture film.

Multitrack Recorder

Multitrack recording (also known as multitracking or just tracking for short) is a method of sound recording that allows for the separate recording of multiple sound sources to create a cohesive whole. Multitracking became possible with the idea of simultaneously recording different audio channels to separate discrete "tracks" on the same tape—a "track" was simply a different channel recorded to its own discrete area on tape whereby their relative sequence of recorded events would be preserved, and playback would be simultaneous or synchronized. In the 1980s and 1990s, computers provided means by which both sound recording and reproduction could be digitized, revolutionizing audio distribution. In the 2000s, multitracking hardware and software for computers was of sufficient quality to be widely used for high-end audio recording. Though tape has not been universally replaced as a recording medium, the advantages of non-linear editing and recording have resulted in digital systems largely superseding tape.

Audio cassette

Digital Audio Tape (DAT or R-DAT) was a signal recording and playback medium developed by Sony and introduced in 1987.^[1 In appearance it is similar to a compact audio cassette, using 4 mm magnetic tape enclosed in a protective shell, but is roughly half the size at 73 mm × 54 mm × 10.5 mm. As the name suggests, the recording is digital rather than analog. DAT has the ability to record at higher, equal or lower sampling rates than a CD (48, 44.1 or 32 kHz sampling raterespectively) at 16 bits quantization. If a digital source is copied then the DAT will produce an exact clone, unlike other digital media such as Digital Compact Cassette or non-Hi-MD MiniDisc, both of which use lossy data compression. Like most formats of videocassette, a DAT cassette may only be recorded on one side, unlike an analog compact audio cassette.

CD

A Compact Disc (also known as a CD) is an optical disc used to store digital data. It was originally developed to store sound recordings exclusively, but later it also allowed the preservation of other types of data. Audio CDs have been commercially available since October 1982. In 2010, they remain the standard physical storage medium for audio. Standard CDs have a diameter of 120 mm and can hold up to 80 minutes of uncompressed audio (700 MB of data). The Mini CD has various diameters ranging from 60 to 80 mm; they are sometimes used for CD singles or device drivers, storing up to 24 minutes of audio. The technology was eventually adapted and expanded to encompass data storage CD-ROM, write-once audio and data storage CD-R, rewritable media CD-RW, Video Compact Discs (VCD), Super Video Compact Discs (SVCD), PhotoCD, PictureCD, CD-i, and Enhanced CD. CD-ROMs and CD-Rs remain widely used technologies in the computer industry. The CD and its extensions are successful: in 2004, worldwide sales of CD audio, CD-ROM, and CD-R reached about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.

MP3

MPEG-1 Audio Layer 3, more commonly referred to as MP3, is a patented digital audio encoding format using a form of lossy data compression. It is a common audio format for consumer audio storage, as well as a de facto standard of digital audio compression for the transfer and playback of music on digital audio players. MP3 is an audio-specific format that was designed by the Moving Picture Experts Group as part of its MPEG-1 standard. The group was formed by several teams of engineers at Fraunhofer IIS, AT&T-Bell Labs, Thomson-Brandt, CCETT, and others. It was approved as an ISO/IEC standard in 1991. The use in MP3 of a lossy compression algorithm is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for most listeners. An MP3 file that is created using the setting of 128 kbit/s will result in a file that is about 11 times smaller^{[note 1]} than the CD file created from the original audio source. An MP3 file can also be constructed at higher or lower bit rates, with higher or lower resulting quality. The compression works by reducing accuracy of certain parts of sound that are deemed beyond the auditory resolution ability of most people. This method is commonly referred to as perceptual coding.^[5] It uses psychoacoustic models to discard or reduce precision of components less audible to human hearing, and then records the remaining information in an efficient manner. This technique is often presented as relatively conceptually similar to the principles used by JPEG, an image compression format. The specific algorithms, however, are rather different: JPEG uses a built-in vision model that is very widely tuned (as is necessary for images), while MP3 uses a complex, precise masking model that is much more signal dependent.

The history of radio play

Radio drama is over 70 years old, and, for all serious purposes, has been dead for 50 of those years, being used only occasionally in the classroom as a novelty or curiosity. During the middle to late 1940's, radio drama reached its peak, then, with the advent and expansion of television, it quickly faded into history. Before the 1920's formal radio programs were unknown. Most broadcasts were one time events consisting mainly of talk and music. Broadcast hours were irregular, usually four or five hours a day, and the only regularly scheduled broadcasts were weather reports. Once in a while, musical events such as symphonies and operas were broadcast from the locations where they were being performed. Occasionally stage plays were broadcast from the theatre, and sporting events were broadcast with play-by-play announcing.

In the mid 20's, larger stations began to develop programs using announcers or narrators. These programs used definite openings and closings and were built around specific program ideas. Radio drama was born in 1927, when networks began adapting short stories, and even writing original scripts, for broadcast.

During the last part of the 1920's many one-hour, sponsored network programs started. Musical variety and concert music programs were the most popular forms during this period. Some of these network variety programs used a different format each week—a musical program one week, a talk or a debate the next week, and perhaps a dramatization the third week. During this period the network schedules included two or three minstrel variety programs and a comedy variety program using a series of several comedy acts in a half hour. Song-and-patter teams, usually two person teams that used talk between songs, became popular during this period. Later on patter-only comedy acts appeared. The Amos 'n' Andy show was one of the first to use this format. At first Amos 'n' Andy presented patter five nights a week for fifteen minutes each night.

During the 1930-31 season, the comedy dramatic form became an important part of radio programming, when Amos 'n' Andy adopted a story line. Amos 'n' Andy was so popular that the program survived even into the TV era.

In the early 1930's national advertisers recognized the potential for radio advertising and became willing to buy air-time and sponsor programs. As this happened, networks competed for their share. The result was the development of many new program forms. Among the new program types were: vaudeville variety programs, dramatized news programs, programs built around a comedian, advice/interview programs, amateur contest programs, town meeting programs, daily network news programs, daytime "soap opera" serialized drama, after school juvenile serialized adventure drama, and hillbilly variety programs. As network daytime serials became popular, stations developed daytime schedules.

In order to survive the depression years, many local stations scheduled commercial religious programs, programs with cultural appeal (country music for instance), and astrology programs that included strong appeals for donations to keep the show on the air. During this time, local news programs were usually one fifteen-minute broadcast per day, getting their news from daily newspapers.

In the early 1940's, radio programs reflected America's involvement in World War II. As the number of news and human interest programs grew, evening variety, musical, quiz, and audience participation programs shrunk. During this time, evening dramatic programs exploded in number.

As a result of the country's involvement in the war, the number of hours per week devoted to news broadcasts nearly doubled. It was probably this abundance of war news that propelled the spectacular growth of evening dramatic programs. As listeners grew tired of war talk, they turned to other programs for escape. The forms that offered the most escape were comedy-variety, comedy drama, and thriller drama. As a matter of fact, one of the dramatic series created during this period was entitled Escape. During the 1944-45 season, the networks scheduled 8 hours of comedy variety, 8 hours of comedy drama programs, and 14 hours of thriller drama each week. By the end of this period, networks offered 47 hours a week of dramatic programs during the evening and on Sunday. Thriller drama programs counted for about 25 hours of these each week.

In the early years of television, not enough homes had a TV receiver and national sponsors were hard to find, therefore, production costs had to be controlled. It was too expensive to create new forms and take a chance on an unknown show, so the forms that existed at the time on radio were moved directly to television. In fact, many of the successful radio series went directly to television. Gunsmoke, an extremely successful western drama, was one among several that could be heard on radio and seen on TV. Suspense, radio's longest running thriller series, was another.

Radio play effects

The music i have done for my radio play is more innovative what I mean be this making the music not going the theme of the music i have done this on purpose to make the person who heres the radio plat thinking and what to hear the performance and also have some experimental effects such as retail shop sounds.

Blues Music

Blues is the name given to both a musical form and a music genre created within the African-American communities in the Deep South of the United States at the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads. The blues form which is ubiquitous in jazz, rhythm and blues and rock and roll is characterized by the use of specific chord progressions — the twelve-bar blues chord progressions being the most frequently encountered — and the blue note that for expressive purposes are sung or played flattened or gradually bent in relation to the pitch of the major scale.

The blues genre is based on the blues form but possesses other characteristics such as specific lyrics, bass lines and instruments. Blues can be subdivided into several subgenres ranging from country to urban blues that were more or less popular during different periods of the 20th century. Best known are the Delta, Piedmont, Jump and Chicago blues styles. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience. In the 1960s and 1970s, a hybrid form called blues rock evolved.

The term "the blues" refers to the "the blue devils", meaning melancholy and sadness; an early use of the term in this sense is found in George Colman's one-act farce Blue Devils (1798). Though the use of the phrase in African American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is often used to describe a depressed mood.

Melodrama

The theatrical genre of melodrama uses theme-music to manipulate the spectator's emotional response and to denote character types. The term combines "melody" (from the Greek "melōidía", meaning "song") and "drama" (Classical Greek: δράμα, dráma; meaning "action"). While the use of music is nearly ubiquitous in modern film, in most cases it is used within a fairly rigid structure. In a melodrama the characterizations will accordingly be somewhat more one-dimensional: heroes will be unambiguously good and their entrance will be heralded by heroic-sounding trumpets and martial music; villains will be unambiguously bad, and their entrance will be greeted with dark-sounding, ominous chords.

Melodramas tend to be formulaic productions, with a clearly constructed world of connotations: A villain poses a threat, the hero escapes the threat and/or rescues the heroine. The term is sometimes used loosely to refer to plays, films or situations in which action or emotion is exaggerated and simplified for effect. As against tragedy, melodrama can have a happy ending, but this is not always the case.

Morality play

The Morality play is a genre of Medieval and early Tudor theatrical entertainment. In their own time, these plays were known as "interludes," a broader term given to dramas with or without a moral theme. Morality plays are a type of allegory in which the protagonist is met by personifications of various moral attributes who try to prompt him to choose a godly life over one of evil. The plays were most popular in Europe during the 15th and 16th centuries. Having grown out of the religiously based mystery plays of the Middle Ages, they represented a shift towards a more secular base for European theatre.

Classical ballet

Classical Ballet is the most formal of the ballet styles, it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, British ballet and Italian ballet. The Vaganova method, named after Agrippina Vaganova and the Cecchetti method, named after Enrico Cecchetti are Russian and Italian respectively and derive from the original French method.

Classical ballet is best known for its unique features and techniques, such as pointe work, turn-out of the legs, and high extensions; its graceful, flowing, precise movements; and its ethereal qualities.

Ragtime

Ragtime (alternately spelled Ragged-time) is an originally American musical genre which enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or "ragged", rhythm. It began as dance music in the red-light districts of American cities such as St. Louis and New Orleans years before being published as popular sheet music for piano.It was a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music.The ragtime composer Scott Joplin became famous through the publication in 1899 of the "Maple Leaf Rag" and a string of ragtime hits that followed, although he was later forgotten by all but a small, dedicated community of ragtime aficionados until the major ragtime revival in the early 1970s.For at least 12 years after its publication, the "Maple Leaf Rag" heavily influenced subsequent ragtime composers with its melody lines, harmonic progressions or metric patterns.

Ragtime fell out of favor as Jazz claimed the public's imagination after 1917, but there have been numerous revivals since as the music has been re-discovered. First in the early 1940s many jazz bands began to include ragtime in their repertoire and put out ragtime recordings on 78 RPM records. A more significant revival occurred in the 1950s as a wider variety of ragtime styles of the past were made available on records, and new rags were composed, published, and recorded. In 1971 Joshua Rifkin brought out a compilation of Scott Joplin's work which was nominated for a Grammy Award, and in 1973, the motion picture The Sting brought ragtime to a wide audience with its soundtrack of Joplin tunes. Subsequently the film's rendering of Joplin's 1902 rag "The Entertainer" was a top 40 hit in 1974.

Sattriya dance

Sattriya, or Sattriya Nritya, is one among eight principal classical Indian dance traditions. Whereas some of the other traditions have been revived in the recent past, Sattriya has remained a living tradition since its creation by the Assamese Vaishnav saint Srimanta Sankardeva, in 15th century Assam.

Sankardeva created Sattriya Nritya as an accompaniment to the Ankiya Naat (a form of Assamese one-act plays devised by him), which were usually performed in the sattras, as Assam's monasteries are called. As the tradition developed and grew within the sattras, the dance form came to be called Sattriya Nritya.Today, although Sattriya Nritya has emerged from within the confines of the sattras to a much wider recognition, the sattras continue to use the dance form for ritualistic and other purposes for which it was originally created circa 500 years ago.

Lindy Hop

The Lindy Hop is based on the popular Charleston and named for Charles Lindbergh's Atlantic crossing in 1927. It evolved in New York City in the 1920s and '30s and originally evolved with the jazz music of that time. Lindy was a fusion of many dances that preceded it or were popular during its development but is mainly based on jazz, tap, breakaway and Charleston. It is frequently described as a jazz dance and is a member of the swing dance family.

In its development, the Lindy Hop combined both partnered and solo dancing by using the movements and improvisation of black dances along with the formal eight-count structure of European partner dances. This is most clearly illustrated in the Lindy's basic step, the swingout. In this step's open position, each dancer is generally connected hand-to-hand; in its closed position, men and women are connected as though in an embrace.

Restoration comedy

Restoration comedy refers to English comedies written and performed in the Restoration period from 1660 to 1710. After public stage performances had been banned for 18 years by the Puritan regime, the re-opening of the theatres in 1660 signalled a renaissance of English drama. Restoration comedy is notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocratic ethos of his court. The socially diverse audiences included both aristocrats, their servants and hangers-on, and a substantial middle-class segment. These playgoers were attracted to the comedies by up-to-the-minute topical writing, by crowded and bustling plots, by the introduction of the first professional actresses, and by the rise of the first celebrity actors. This period saw the first professional woman playwright, Aphra Behn.

Punk rock

Punk rock is a rock music genre that developed between 1974 and 1976 in the United States, the United Kingdom and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.

By late 1976, bands such as the Ramones, in New York City, and the Sex Pistols and The Clash, in London, were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement. By the turn of the century, pop punk had been adopted by the mainstream, with bands such as Green Day and The Offspring bringing the genre widespread popularity.