A 10 year research survey on musicians, sound engineers and music listeners

A 10 year research survey on musicians, sound engineers and music listeners 1

Produced by Dan Beck (Hearing Aid Music Foundation) Directed by Pamela French. A 10 year research survey on musicians, sound engineers and music listeners. Published 10 times each year, it is available to all AES members and subscribers. Note: Special issue on Dereverberation and Reverberation of Audio, Music, and Speech. This study surveys non-orchestral musicians playing in pipe, jazz, concert, wind, or brass bands regarding their perceived risk of music-induced hearing damage, rates of self-reported hearing loss, and use of earplugs and acoustic screens while playing in an ensemble.

A 10 year research survey on musicians, sound engineers and music listeners 2How do you describe a musical experience, emotion or association or a musical structure verbally? The problems are similar with all sensory perceptions, emotions and associations and the question is of course basic in cognitional and perception research. Another direction in music research deals with listener types and listening strategies and techniques, and this research has been done by musicologists as well as scholars from other disciplines. He provided 140 listeners with three pairs of files (read the procedure used for the test), an. Poor audio engineers. I have observed the following over 10 runs with ABXTester:. So we end up with an acoustic mess. That inept sound engineers try to solve by increasing the volume, which of course makes it worse. We started a research project here at Bose 10 years ago to understand why there are so many complaints about amplified live music.

Every working musician and music listener should consider using hearing protection. According to a 2002 research study survey on musicians and hearing loss conducted by H. DJs; sound, monitor and FOH engineers; musical theatre orchestras; Previous research has established that noise-induced hearing loss (NIHL) is a product of excessive and prolonged exposure to high-intensity sound. To date, there have been no empirical studies of noise exposure levels among behind-the-scenes non-musician participants in audio- and music-recording activities. In an effort to understand the effect of exposure to loud music, Axelsson and Lindgren9, 10 examined pure-tone hearing thresholds in a population that included disk jockeys, entertainment artist managers, live-sound engineers, and musicians. Audiometric surveys were conducted at the 51st Audio Engineering Society (AES) Conference and at a meeting of the Los Angeles section of the AES. The research is aimed at inspiring debate about recordings with a sonic fingerprint that anchor the music to a particular time in history, and whether they should be altered to suit any requirements beyond their preservation and archiving. In this work we collect, annotate and analyse over 1400 reviews by trained listeners on 98 mixes. Mastering Kurenniemi’s Rules (2012): the role of the audio engineer in the mastering process. Secondly, the relationship between the musical work and its medium is described with several examples encountered in the mastering process of the album Rules (2012), which consists of ten works from the 1960s and 1970s by the Finnish electroacoustic music composer and instrument designer Erkki Kurenniemi.

Research On Music Listening: From Typologies To Interviews With Real People

IN LEFT EAR and is accompanied by buzzing and cracking sounds in the ear 3If you keep an eye out for the latest research on music consumption habits, you can use these st. What can we musicians learn from this research? It’s worth selling digital downloads; particularly if aimed at a younger audience: The survey found that just over 20 of people under the age of 34 had paid to download a music track to their computer in the preceding 3 months. An anonymous survey among Danish pop and rock musicians showed, that at least 35 refrain from returning to venues with acoustics they deem unsatisfactory. My mission every day for the last 10 years though has been to give audiences, musicians, music teachers and pupils optimal sound quality at every performance within any musical genre. In the decade since Napster’s launch, selling recorded music has become as much of an art as making the music itself. Pew Research Center data by email. And by the time the Pew Internet Project fielded its initial survey on music file-sharing in July 2000, nearly one in four adult internet users said they had downloaded music files, and most of them (54 ) had used the Napster network to do so. The musical bacchanalia that consumers experienced at the height of Napster’s popularity prompted many industry observers to declare record labels obsolete long before sales figures had shown any serious decline. An eerily prescient article that ran in Billboard in April of 1999 reported that the record industry had seen a puzzling drop in music-buying by young listeners during the previous year. Music is an art form and cultural activity whose medium is sound and silence. A distinction is often made between music performed for a live audience and music that is performed in a studio so that it can be recorded and distributed through the music retail system or the broadcasting system. Funding: The research was supported by a Goldsmiths Early Career Development grant awarded to Daniel Mullensiefen in 2010. The results of the survey measured the listeners’ perceptions, based on the advert they had listened to, of the person endorsing the product, any emotional reactions stimulated among them, and their attitude towards the brand (‘overall evaluation’ and ‘purchasing intention’). In order to understand the ‘jingle-brand’ association, the subjects were played the three experimental adverts with musical accompaniment once the survey was completed. The research group aims to understand how room acoustics affect sound. Read more.

How Can Musicians Protect Their Hearing?

Musical taste has traditionally been viewed as class-related: the elite attends classical music concerts, the middle classes prefer highbrow easy listening, while the lower classes enjoy pop and folk music. Research in the US has shown that the upper classes, in particular, are increasingly adding different styles of music to their tastes that were previously associated with the middle and lower classes. The survey, which was carried out among students, also shows that taste can become more independent of social background through an intensive engagement with music. Conventional listeners generally state that they listen to music moderately often, and usually classical, house and pop. September 10, 2015. A factor analysis revealed six underlying dimensions of musical taste. Participants (n 1003) completed an online survey regarding the frequency with which they listened to 22 musical styles. Another branch of research investigates the musical engagement and taste of people that are professionally involved in music such as musicians, musicologists, or music researchers. The average age of participants was 24.13 and ranged from 17 to 66 years (SD 5.08). Nevertheless, evidence from modern listeners might provide useful clues pertinent to theorizing about origins. This survey resulted in just over 500 proposed musical functions. In his book, The anthropology of music, Merriam proposed 10 social functions music can serve (e.

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