Has the internet changed the way people perform music? An in-depth look at how open source

Has the internet changed the way people perform music? An in-

depth look at how open source software has influenced music

performance.

by

[Author’s Name]

[Faculty Name]

[Department or School Name]

[Month Year]

Music & Technology 1

Acknowledgement

I would take this opportunity to thank my research supervisor,

family and friends for their support and guidance without which

this research would not have been possible.


Abstract

The purpose of this study is to expand the boundaries of our

knowledge by exploring some relevant and factual information

related to the impact of internet on music. The way to make and

listen to music has changed with the use of technology.

Technology is commonly associated with tools or things that

facilitate our daily activities: household appliances,

transportation, mass communication etc. Mankind has always sought

to make life more simple and comfortable. Similarly, technology

has also been utilized to explore some new dimensions of music.

In this paper, the author has examined whether the internet and

fast evolution of technology has changed the way people perform,

produce and perceive music. This paper contains an in-depth

analysis of how computer recording software, specifically open

source music software, has influenced music performance around

the world today.


Table of Contents

INTRODUCTION...................................................4

DISCUSSION.....................................................5

Impact of technology on the music industry..................5

The Technology of Musical Composition.......................8

Impact of Open Source Software on Music Composition........13

Musink..................................................14

Strong Notation.........................................14

Audacity................................................14

Musescore...............................................14

Noteflight..............................................15

Rosegarden..............................................15

Wavepad.................................................15

Best Practice...........................................15

Musical Notes...........................................15

Reading Notes...........................................15

Audio Tuner.............................................16

Media Converter.........................................16

Pros of Computer Recording Software........................18

Cons of Computer Recording Software........................19

Opportunities Related to Computer Recording Software.......20

CONCLUSION....................................................22

References....................................................24


Has the internet changed the way people perform music? An in-

depth look at how open source software has influenced music

performance.

Introduction

Internet has changed the way humans learn, communicate,

think and even method of consumption. The question that arises is

that are the musicians nowadays creating sounds with the help of

technology which could not have been possibly produced otherwise.

Many different theories exist on how music overall has been

impacted by the advent of technology and especially the invention

internet along with the introduction of computer recording

software like Pure Data, an open source software which allows all

users easy access to professional recording and mixing. The fact

that the music industry has irrevocably changed cannot be

disputed, and the way music is composed has been re invented due

to internet and emerging technology (Tanaka, 2005, pp. 191-198).

The ‘streaming culture’ which allows for music enthusiasts and

other internet surfers or fans to switch to a more attention

catching beat with a single click of the mouse has certainly been


affected. Ever since the ‘age of machines’ began, even before the

advent of internet as a global base for users, in the 1950s,

commonly referred to as the time when Stockhausen clashed with

Pierre Schaeffer and his “musique concerte” in the Cologne, the

Moogs and thermins technology with the help of 808s and auto tune

had seeped into the way music was produced and had moulded it in

a way which had become unrecognisable. However, it cannot be

argued that internet has certainly managed to accelerate the

culture of music online and glorified it, in process expanding

the boundaries of the music industry to new heights.

Nevertheless, it cannot be argued that today the production,

performance and the industry itself is under the influence and

control of the ‘music of age’ and the ‘age of music’ is a thing

of the past now (Seay, 2004, pp. 16-18).

Many different programs and software like Bear Share,

Napster, Kazaa, Sound Hound, Bit torrent etc have been introduced

to the online database of the music industry, allowing users to

download and play music free of charge. Even though the

government and international authorities take a negative view of

such practices, going as far as to put specific conditions on the


factors that they cannot control and tightening the boundaries of

anti piracy and copyright laws and regulations, consumers

strongly disagree and advocate the spread of free software like

the ones mentioned above which allow the quick spread of music

worldwide. Internet users, amateur musicians and aspiring stars

claim that the internet has only served to facilitate the music

industry. Much literature has been published which argues the

pros and cons of this debate, however, it is clear that before

this era of technology, a lot of music went unheard by majority

of the world’s population. Music produced in different countries

and languages could not be accessed easily, struggling bands and

artists could not afford to distribute their tracks on popular

mediums then like the radio or record them on CDs, and moreover,

many talented artists and composers were ignored as the exposure

to various mediums of music was minimum and people did not have

developed tastes in other forms of music (Ning, 2010, 13-15).

Discussion


Impact of technology on the music industry

In the field of technology, inventions for musicians and

composers are shaping the future of music industry. Technology

impact on music in many ways, one could be that electronic music

that originated in the late twentieth century is a style of music

that depends only on the machines for their realization and it is

humanly impossible to replicate this type of music without the

help of technology. Another impact is quality improvement in

mastering music. Technology gives us plenty of tools to help the

production of musical material. The ease of the Internet

marketing help us to sell music record material via sites that

specialize in the marketing of music, which offers music of all

styles and from all over the world (Murail, 2006, pp. 121–36).

In the generation of our digital identity and socialization,

music enhances our online sociability shaping a new kind of

experience (in consumption). Undoubtedly, today, music is being

created, discovered, consumed, shared and commented more than

ever. In fact, over the last four months only Facebook has shared

5000 million songs through various services. It is clear that

changing user behaviour has changed the rules of music. People do


not want to spend big money on a physical product that tends to

disappear in an environment where the digital market continues to

grow year after year. To this we must add the phone as a

strategic element in music consumption, not only in its MP3

function, but also streaming services and applications via

Smartphones.

It is certainly clear that the most important people in the

music industry are artists and fans. The key is to develop new

roads that connect them. In this respect the technology and

content, as well as various Internet tools and social networks,

are strategic for the future of music and artists, along with the

ability to create experiences through the collaboration of the

people. The most important thing for us was definitely trying to

understand the impact that technology and the Internet have had

on user behaviour when consume, discover and access music, as

mentioned at the beginning. In this environment, there are seven

fundamental keys inherent in technology, ICT and the Internet

that have impacted music in any sector:

Digitalization of content (music): We can access and compose

a catalogue of music in large collection through our computers


Disintermediation: an increasing number of artists can now

produce, make, distribute and publicize their work directly

through the Internet and through technological tools that make it

easy to do the work.

Globalization: without leaving home, one can access an

unimaginable amount of information of any group. In a series of

clicks we can find a group anywhere in the world, access to its

website, discover information on their Facebook profiles, Twitter

or any other social networking service and listen to their songs

on YouTube or download music from any digital distribution

service like iTunes. Growing Smartphone penetration terminals and

content services like Spotify allow us to access a wide range of

music at a reasonable price and provide us the power to access it

from any device. One of the consequences of technological

innovations is the growing ubiquity of music Today, more than

ever, music is with us at all times and shapes our experiences

(Miranda, 2007, pp. 218-249).

Profound change in the distribution models: impact on

distribution models by companies that have created a new model

and have taken advantage of the user behaviour change brought


about by technology. An obvious example is offered by the impact

Netflix had among major U.S companies i.e. Warner, Columbia, MGM,

Universal, Paramount etc.

There is a fight between whether technology benefits or hurt

the music performance. It is undeniable that technology helped

music production and improved its quality in terms of mastering

is concerned, i.e. the equalization of voices, instruments,

emulation of digital tools, including the manufacture of complete

virtual recording studios that do not have nothing to envy to

actual studies. The mass production of musical material would be

another advantage as technology enables faster production.

Due to advance technology and the alleged aid, musicians can

now use different types of software to modify their songs. It is

not necessary that the artist has a good voice. In such cases,

there are tools that are used to correct these shortcomings.

Although, it might seem very beneficial for the music, but from

an ideological point of view this process makes the music or the

musicians rather mediocre and truncates the possibilities of

evolution or advancement of music. Another disadvantage is

piracy. This is very influential in music because most people


prefer to download music or buy unoriginal material instead of

buying original equipment. This can be hurting not only for

artists but also for businesses that are related to them,

resulting in a decrease of talented musicians (Mathews, 2009,

553-557).

The Technology of Musical Composition

For much of the last 400 years of history in the field of

what is often called “Western art music,” there has been a

basically unified technical apparatus for writing music. The

apparently great stylistic transformations that led from the

restrained Classicism of late eighteenth-century music to the

sweeping Romanticism of the middle nineteenth century were much

more changes in inflection, tone, and scale than fundamental

changes to the relationships and techniques that composers use to

build their pieces. This is true to a degree that may seem

startling to those outside of music. That technical consistency

was not the result of strong conceptual or theoretical framework

used to train and indoctrinate composers. Actually, most of the

theoretical constructs of music theory came into being long after


the music to which they refer. Instead, the main mechanism for

this technical consistency was the apprentice-like training

process that focused on imitation of existing works with

increasing personalization of materials, but without

fundamentally questioning the orientations and assumptions of

these models (or questioning them in limited ways from within

their worldview). Just as generations of novel writers wrote new

works without questioning the basic literary, linguistic, or

often even formal tool kits of their forebears and painters

copied masterworks as a way of learning basic tools such as

perspective and representation, composers during this long period

thought about what they wrote without asking deeper questions

about how they wrote (Malherbe, 2002, pp. 15–28).

In music, this ubiquitous set of techniques became clearly

defined only through hindsight, long after artistic practice had

become very highly consistent. Music theorists looking back at

these techniques as used by the full range of composers from the

seventeenth century through the early twentieth century gradually

elaborated the widely shared but at the time unevenly formalized

technical apparatus that has come to be called the “common


practice.” Moreover, that entire time span has come to be called

the common practice era or period. The technical details of this

common practice go beyond the scope of this essay, but it is

important for our purposes to understand these traditional

techniques were not driven by theory (Legaspi, 2007, 216 224).

The very notion of employing a unitary “common practice” of

almost any kind becomes anathema to those seeking something more

akin to “individual” expression. Moreover, as the traditional

apprenticeship-like training (driven mostly by varied imitation

of historical works) seemed increasingly ill-adapted to many

composers’ quests for “innovation” and “novelty,” speculation

became a more important driver of musical technology. Thus, more

and more composers turned to prospective music theories as a way

of looking forward. A new type of musical theory moved away from

the post hoc descriptive music theory of common practice music

into a prospective field of what might be called theoretical

composition. The value of these theories, therefore, is often

(but not always) judged more on their applications within pieces

of music, than on their abstract conceptual merits. In an extreme

though not uncommon implementation, this can mean the development


of large-scale theories for the sake of being able to build a

single work on the theories, with little or no applications

beyond that one piece of music (Kirke, 2009, 1-41).

Prospective musical theories during the first six decades of

the twentieth century covered a broad range of musical issues and

styles. Combinatorial theories look to create “language” through

permutation and relation, seeking to replace the hierarchical

organization of tonality with a relational or relativistic

system. Within relational and relativistic systems, such as the

combinatorial framework created by Arnold Schoenberg, Anton

Webern, and Alban Berg (often called serialism), there is no

preestablished hierarchy; whereas in a tonal work, pitches are

strictly organized by their “function” within the “key” using a

pre-existing framework. As Schoenberg proclaimed, the dissonances

have been “emancipated.” The absolute pre-learned framework of

the common practice is replaced by intervallic and combinatorial

structures that are developed for and within a given work.

Coherence and consistency become intrinsic properties of each

work, generated by the local compositional processes. This


abandons the inherited and previously omnipresent frameworks of

tonality and common practice forms.

Conceptual theories question the very nature of what music

is, what its social and political functions and obligations are,

and even whether music should be driven by authorial intent at

all. These theories are closely allied with movements in others

artistic disciplines, such as Bauhaus or Fluxus. Musical

compositions, in this view, are primarily a means of exploring

the boundaries of musical meaning or the social impacts and

effects of music. Music becomes a vehicle for conceptual art

rather than an artisanal craft. As with combinatorial theories,

there was a strong desire to leave behind earlier art's

relationship to social hierarchies by striking out against

rigidly imposed conventions of all sorts.

Repertoire oriented (postmodern) theories seek to establish

a dialogue with other music or musical traditions. In this view,

current works exist in a “meta-dialogue” with works from the

past. As such, an enormous part of the compositional process is

sculpting a new work's relationship with other pre-existing works

and repertoires. Composers working in this vein often reject the


modernist impulse for reinvention and instead speak of personal

expression or of continuing and reinterpreting traditions. Some

composers working in these veins may seek to fuse disparate

traditions, but others may seek to broaden from within, or simply

to make works that eschew the need for “linguistic” novelty

completely. The writings of these composers often express a

sentiment of returning to something that has been lost, and there

is often a great deal of nostalgia for common practice tonality.

However, unlike the music actually written during the common

practice era, the theoretical framework in which this music is

written had been very specifically taught to these composers in

formal theory classes, and the decision to use common practice

techniques and forms is an affirmative gesture in a way that it

could not have been when common practice was not a choice, but an

assumption and an inevitability. Moreover, music built from the

deliberate juxtaposition of disparate historic styles and musical

genres is quite distinct from the music initially produced in

those styles or genres (Huron, 2001, pp. 1-64).

As different as these ideas and theories are, the vast

majority of music produced with them tends to maintain many of


the basic assumptions of the common practice era. These holdovers

are sometimes intentional, as when certain postmodern works make

explicit stylistic references; however, most of them are so

deeply ingrained in our musical technology and training that

composers often did not realize they were even choices. The most

striking of these assumptions is the parsing of a sonic continuum

into notes and rhythms. Despite all of their ideological

differences, composers wrote almost all of the music described

previously using the same set of tempered pitches and intervals

that had originally been developed to allow common practice

composers to modulate between different key areas within the

hierarchical tonal system. They preserved a notational system

that was highly optimized to those categories as well. Though

there were a few notable exceptions, these commonalities remained

quite close to universal. Even composers who tried to experiment

with micro-tonality generally did so using the very same notions

of interval structure (simply improving the resolution of the

renditions). However, since at least the early 1950s, acoustic

analysis, electronic synthesis of sounds and even honest

introspection had made it clear that many or most of the sounds


in the world do not fit into these neat, easily notated

categories. Moreover, other categories of sonic organization,

such as timbre or contour, are much more salient to listeners, in

a general context, than are the interval ordering, motif, or

other attributes that had become so important in the specific

context of the common practice (Gill, 2003, 129-133).

The one area in which these categorical boundaries were

necessarily breached was in the immerging world of electronic

music. In this, mostly non-notated, music, composers were either

manipulating recordings of real-world sounds or synthesizing new

sounds (often through techniques that combined once-distinct

sounds into compound objects with a unitary perception).Before

the innovations of the spectral movement, it was not at all

evident how or even whether these insights might be applied

within the realm of notated instrumental concert music. There

were some limited attempts to imitate the textures and movements

of electronic music in the late 1950s and 1960s, but they did so

largely through accumulation of enormous masses with its

concomitant perceptual overload, but without a guiding theory

(Fu, 2006, pp. 1863-1864).


The current explosion of the world of sounds, and the

techniques of investigating them, naturally raise questions about

compositional systems. Limitations disappear, traditional

classifications lose their meaning, and allowance replaces

circumspection. Of course one can find examples of spectral music

with “beautiful sounds,” but music has also bestowed the history

of music with some of its most atrocious noises. Really, it's not

the intrinsic quality of a sound that matters; what matters is

introducing systems of hierarchy, magnetization, or

directionality into sonic phenomena in order to create a musical

rhetoric upon a new foundation.

Impact of Open Source Software on Music Composition

Computers have been used as an aid for musical endeavours in

several ways. They can help with sound synthesis, sound

processing, music theory analysis, composition, and performance.

In computing, open source indicates a music software whose

authors (more precisely the rights holders) allow, but rather

promote the free study and modifications made by other

independent programmers. This is achieved through the application


of appropriate licenses. Open source music software has benefited

greatly from the Internet, because it allows dispersed

programmers (musicians) to coordinate and work on the same

project. The philosophy of the open source movement is inspired

by the movement of open content. In this case, the source code is

not freely available but editorial content such as text, images,

video and music are provided free of cost. Following is the list

of most popular open source music software on the internet (Ning,

2010, 13-15):

Musink

In addition to creating Midi File, this software allows

musicians to easily create musical notation that can be saved in

different formats, suitable for printing.

Strong Notation

Strong Notation is a professional program use to write music

to computer. It is available for free and allows musician to

listen to music while they compose and print the generated score.


Audacity

It is an Editor and Audio Recorder easy and free to use.

This open source software is available for Windows, Mac OS X, GNU

/ Linux and other operating systems.

Musescore

Musescore is free software for music composition & notation.

It is available in many languages and supported by a discussion

and a user manual.

Noteflight

Noteflight help musician to compose music online, listen to

it, share it with friends or put it on blog or website

(compatible with all browsers). Access is free after

registration.

Rosegarden

Open source software for Linux allows composing music,

editing scores and converting Midi files.

Wavepad


Lightweight but powerful audio editor developed for Mac and

windows and is available free in its basic version.

Best Practice

Best Practice is a free software allowing musicians to edit

their music. For example, artist can decrease or accelerate the

tone or change the pitch without affecting the time.

Musical Notes

Musical Notes is a simple program for the training in the

recognition of the seven musical notes. Musicians can listen to

the note and play it on the keyboard to practice playing.

Reading Notes

It is free software for Windows, to learn how to read notes

and recognize sounds and chords.

Audio Tuner

This free software allows musician to grant a dozen

instruments through the computer.


Media Converter

It is an online tool to convert music, text and video for

free, without downloading or installing any software. There is a

wide range of formats and a wide range of situations in which the

tool can be useful, for example, to convert, to convert wav files

to mp3 and vice versa.

Today, composing good music is not limited to the exclusive

domain of professional composers. Now with the advanced music

software, everyone can become a good composer. Musicians can

experiment with different rhythms and upload songs on different

websites for others to hear. Not only does the software lets you

create music clips, but also help you make complete tracks. While

this may be surprising to many people, the fact is that many

famous composers nowadays also use various programs to refine

their work. This demonstrates the effectiveness of music programs

and ensures that quality music composition with a few mouse

clicks (Bhagwan, 2009, pp. 64-70).

Internet makes possible in carrying out our creations,

whether visual, sound or music. Today, anyone with network access

can have an online music editor. It is simple and free to get


started in the composition task for amateurs. On the internet

there are various online music publishers, such as JamStudio,

through which music fans can develop pieces and gradually enter

into the world of online music production. For example, JamStudio

is an option that appears ideal for recording demos or no cost

models, which allows us to obtain a quality product. This web

application will allow us to compose music and offer almost

immediate results. Any of us, although we have no knowledge of

editing, can make our own productions and song writing. It should

be noted that this is a flash application addressed to a lay

audience in music, as the program automates most of the work. It

is a professional application but ideal for fans who want to make

their own music. It's a totally free online tool (Biles, 2007,

pp. 28–51).

Those who possess knowledge of composition and music theory

can perform their own creations through Notefligh. It is an

online music editor by which we can create our own songs or

compose music of our favourite tunes. With Noteflight, one can

create, view, print and listen to their creations directly on web

browser for free. Other editors such as Wiki Composer, is user-


friendly software used to create and compose music via MIDI file

format. The melodies creation system is performed by placing

musical notes on a staff with the mouse, and through a completely

visual user interface. Musical notes we use in our composition

can be edited and modified in various ways. A person can cut,

copy and paste, delete or move them using the usual controls of

any text editing program, so that almost anyone who is using it

will be familiar with the functions of the controls. Although not

an actual music editor, “Myna” lets you mix music and word, apply

sound effects and record voice or musical instruments. With Myna,

a person can record, edit and mix audio tracks, control the

volume, EQ, insert effects, import audio tracks from computer or

burn them directly (Chen, 2007, 9-16). The drawbacks are that the

songs are limited to five minutes and recordings to 60 seconds.

Finally, we pause to mention Visual Acoustics, an online

application that allows musical compositions using only the

mouse. Visual Acoustics will not let musicians save their

creations; it is only an application for "drawing music" on the

fly. The word “draw” is used because anyone can compose music by

only moving mouse over a panel that includes four instruments:


piano, violin, flute and guitar, which can be used alone or in

combination. Musicians can also adjust the transition time

between sounds and the volume (Craane, 2009, pp. 12-19).

Pros of Computer Recording Software

Many advantages exist for using technology as a basis for

day to day activities, namely precision, saving of time, money

and effort, ease of access, etc. Similarly, where the creation

and performance of music is concerned, there are many advantages

to using technologically enhanced computer recording software. To

highlight a major difference that specially open source software

such as Pure Data has made, it is important to acknowledge the

fact that the harsh barriers to entry in the music industry have

now been lowered which has considerably levelled out the ‘playing

field’ in comparison to the ‘age of music’ where only ‘pure’ and

unaltered music was the norm rather than the exception. Due to

such software being available on the internet and the increasing

proliferation of such recording products, every individual

regardless of their demographics, race, ethnicity or age, now has

open access to the free market. This has made it possible for


many aspiring musicians, who did not have a chance to break into

the music industry previously, to step into the field on a

professional level with nothing more than a computer, internet

access and some software. In fact, looking at many examples from

this ‘music of age,’ many young artists have managed to

successfully penetrate the music market by means of recording and

enhancing their production as well as their performance styles

online and distributing the finished product on social networking

websites like Youtube.com and Facebook.com to reach maximum of

users worldwide (Fu, 2006, pp. 1863-1864).

Furthermore, the effect on technology more specifically on

the composition of music has also been radical. In order to

compose quality music, one does not need to be a professional

composer anymore, in fact ever since the advent of recording

software and almost daily enhancements in the software versions,

it has become easier to experiment with different beats and

sounds, not just for the untrained musicians but also for the

aforementioned professionals. Advanced software allows anyone and

everyone to be good at composing, as well as affording them

instant fame as they can upload experimental or even their


finished tracks online through means of distributing software

like Napster and iTunes. Moreover, recording software does not

only allow us to produce music clips, but also helps in

finalising complete songs. A fact that not many from the audience

are aware of is, as mentioned above, that even famous and well

known composers use different software to “fine-tune” their beats

today. This proves that music software technology has indeed

become increasingly efficient and trustworthy, ensuring good

quality as well as professional music composition in just a few

clicks of the mouse (Kirke, 2009, 1-41).

Nowadays, amateur or aspiring musicians are being

increasingly advised to buy or access music software online

instead of spending huge amounts of money to set up professional

studios, which brings us to another advantage of such software,

especially open source software available on the internet which

can be used for a minimal amount of subscription fee or software

which can be accessed free of any hidden charges. This allows

many musicians to establish a niche for themselves, especially

those who cannot afford to buy expensive equipment like music

recording gear. Moreover, many casual users and even music


enthusiasts do not have the required skill set to operate studio

recording equipment efficiently, so for them such software can be

thought of as a blessing.

Cons of Computer Recording Software

Looking at the various opportunities presented by computer

recording and enhancing software found on the internet, it is

difficult to fully imagine the negative impact that such

technology has had on the music industry of today. Nowadays, it

is clear that music is not so much produced as it is created by

means of technical enhancements. The pre internet era of music or

what can be called the true ‘age of music,’ is long past us. Many

reasons can be cited for this new and emerging ‘evil’ due to the

fast growing technology, and to briefly describe some of them, it

is important to highlight how professionalism has eroded in this

field (Chen, 2007, 9-16).

During the process functioning, especially amongst the young

and forthcoming producers of music, it has been noticed that

these upcoming composers have a tendency to be deficient in

essentials as soon as it regains the consciousness of engineering


of sound. Mostly for the reason that it is quite uncomplicated to

have a computer and begin compiling the musical beats in a

person's bed-room. In addition, they do not have that foundation

of training that the engineer’s of sound and composers of music

employed to obtain while carrying out their parts with elder

experts. Academy is not adequate to get knowledge of fine points

of the production or the complexities of the production of music.

Additionally, there are numerous clandestine methods that are

becoming disoriented for the reason that upcoming composers of

music are operating form their residences devoid of that prior

basis of acquaintance and awareness constructed during the

decades (Fu, 2006, pp. 1863-1864).

Opportunities Related to Computer Recording Software

In present days, such software easily carries out their

functions on the work stations used by people. Even though, few

notebooks and laptops with low prices provide support to them as

well. In addition, it must be taken into consideration that

whatsoever software a person is purchasing, it must be well-

matched with the computer system of that person in an attempt to


stay away from any trouble. There are a number of computer

systems that take in numerous fixed connections that are

essential for the purpose of running the software. Though, in

addition the software can be installed from the internet without

any charges. The largest and prevalent possibility an individual

is capable to observe proceeding is for the composers of music

that contain a firm grip of the accepted and approved down

deceptions, techniques and tricks from the cooperative awareness

of the legendary composers of previous and an outstanding grasp

on the principles of sound engineering such as integration,

mastering and sound-tracking will enclose the benefit in turning

out to be a highly developed composers of music. There are a

number of music producers that give training to the young and

forthcoming producers and composers of music by means of their

own guidance and leadership course both personal and currently

with recent online programs and do share their professional

experience with the new learners of music composition (Craane,

2009, pp. 12-19).

If an individual is keenly taking interest in fabricating a

dance, strike, techno or betas of hip-hop, software with a panel


of drum machine, a runner or few effects of sound are accurately

the requirements that he calls for. These dynamics are

inaugurated before now in software with high quality. Although,

an individual calls for checking if the sole a person is intended

for purchasing takes in these alternatives previously. It is

recommended to not to utilize an "online software" for the reason

that might be a lock to destroy the personal computer of an

individual and to interrupt into his system. Furthermore, putting

in the software on the computer of individual as an alternative

as it crafts it uncomplicated for the person to compile the

musical beats himself is also advocated. Seeing as the person is

utilizing software of music for the opening incidence, some

possibilities do exist for the person to make the errors and

blunders. For this reason, an individual is supposed to inquire

for a manual of instructions always to be aware of its workings

and to commence in the composition of musical beats. An

individual should take into account that if he is paying money

for online software, there must also be a guarantee for returning

of money (Mathews, 2009, 553-557). There are numerous websites

that bestow this offer, on the other hand, many websites do not


offer. Therefore, paying for software from the later group is not

an excellent inspiration because it reduces the possibilities of

acquiring money back if the requirements and demands of an

individual are not accurately fulfilled by the software.

Conclusion

In summary, this study has provided us ample knowledge

regarding the impact of technology on music. Therefore, as the

above mentioned point highlights, the internet had served to

broaden people’s taste with regards to music most of all. Online

music sharing allows users from all over the world access to

music from different genres, promoting music which used to

majorly go unheard pre internet, and international music.

Psychologically, all music has been known to have calming and

soothing or stimulating effects on the human psyche, and many

people like different genres depending on their individual

perspectives and personalities. As it is very easy to track every

movement online, retrieving statistics which allude to user

preferences in music is fairly easy, and in fact many websites

publish such data regularly. This allows the music industry to


keep track of what is in favour and trends which are popular with

the users, and through such calculations, many artists are now

releasing tracks which are an amalgamation of different genres of

music which are popular with the audience. For example, Miley

Cyrus’s hit song which was number one in the international

charts, “Party in the USA” is an upbeat song with a pop tune,

sings about rappers, Nashville guitar chords and Euro techno.

Internet and fast evolving technology has further allowed

many musicians, artists and composers to reach a wider fan base

in many different ways which has affected international and

national level sales of music singles and records, as well as

other merchandise by their favourite artists. Many loyal fans

wish to promote their favourite artists by buying merchandise

with their signature on them, even if they download their songs

instead of buying them through proper channels. This serves to

provide opportunities to the music industry to promote itself by

other means as well. Furthermore, internet has also changed the

way music is perceived, the expansion and promotion of the art of

music has also increased in a noticeable way. Many fans are loyal

to the point where they will purchase CDs as well as download


tracks of their favourite artists, as well as buy their

merchandise like pins, perfumes, t shirts, jeans, jewellery,

cosmetics etc. In this paper, the author has examined whether the

internet has changed the way people perform music. It was also an

in-depth look at how open source software has influenced music

performance around the world.


References

Bhagwan, V.(2009). Sound index: Charts for the people, by the

people. Communications of the ACM, 52(9), 64-70.

Biles, J. (2007). Evolutionary computation for musical tasks. In

Miranda, E. R. and Biles, J. A., editors, Evolutionary

Computer Music, chapter 2, pages 28–51. Springer-Verlag New

York, Inc., Secaucus, NJ, USA.

Chen, Y. (2007). Interactive music composition with the CFE

framework. SIGEVOlution, 2(1), 9-16.

Craane, J. (2009). Melodycomposition: application for melody

composition using genetic Algorithms, pp. 12-19

Fu, T.(2006). Evolutionary interactive music composition. Paper

presented at the GECCO '06: Proceedings of the 8th Annual

Conference on Genetic and Evolutionary Computation, Seattle,

Washington, USA. 1863-1864

Gill, S. (2003).A Technique for the Composition of Music in a

Computer. The Computer Journal, 6(2), 129-133.


Huron, D. (2001). Tone and voice: A derivation of the rules of

voice-leading from perceptual principles. Music Perception,

Vol. 19, No. 1, pp. 1-64.

Kirke, A., & Miranda, E. R. (2009). A survey of computer systems

for expressive music performance. ACM Computing Surveys,

42(1), 1-41

Legaspi, R., (2007). Music compositional intelligence with an

affective flavor. Paper presented at the IUI '07:

Proceedings of the 12th International Conference on

Intelligent User Interfaces, Honolulu, Hawaii, USA. 216 224.

Malherbe, C (2002), “Seeing Light as Color; Hearing Sound as

Timbre.” Contemporary Music Review vol. 19 no. (3): p. 15–28

Mathews, M.V. (2009). The Digital Computer as a Musical

Instrument. Science, 142(3592), 553-557.

Miranda, E., & Todd, P. M. (2007). Computational Evolutionary

Musicology. Evolutionary Computer Music, 218-249

Murail, T (2006) “Revolution of Complex Sounds.” Contemporary

Music Review 2005a vol. 24 no. (2/3): p. 121–36.


Ning, C.. (2010). The music pattern: A creative tabletop music

creation platform. Computers in Entertainment, 8(2), 13:1-

13:15.

Roads, C. (2005). Research in music and artificial intelligence.

ACM Computing Surveys, 17(2), 163-190.

Seay, A. (2004).The Composer of Music and the Computer, Computers

and Automation, 13(8), 16-18

Tanaka, A., (2005). Facilitating collective musical creativity.

Paper presented at the MULTIMEDIA '05: Proceedings of the

13th Annual ACM International Conference on Multimedia,

Hilton, Singapore. 191-198

Has the internet changed the way people perform music? An in-depth look at how open source

Documents

Transcript of Has the internet changed the way people perform music? An in-depth look at how open source