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Replacing the Orchestra? The Discernibility of Sample Library and Live Orchestra Sounds. Kopiez, R., Wolf, A., Platz, F., and Mons, J. Journal on the Art of Record Production 9. Performing Nostalgia On Record: How Virtual Orchestras and YouTube Ensembles Have Problematised Classical Music. CreateWorld 2015, A Digital Arts Conference, Brisbane, Australia, 12-13 February 2015: 10-17.ī. Opera Composition and Performance Utilising Computer-based Recording Technologies and Virtual Instruments. Communities, Places, Ecologies: Proceedings of the 2013 IASPM-ANZ Conference, Brisbane, Australia, 24-26 November 2013: 112-125.Ī. Is Classical Music “Boring”? A Discussion of Fidelity, Virtuosity and Performance in Classical Music Recording. Berkeley, CA: University of California Press. Capturing Sound: How Technology Has Changed Music. Mixing Audio: Concepts, Practices, Tools. Musical Performance: A Philosophical Study. Garritan Instant Orchestra Sound Library. Performing Rites: Evaluating Popular Music. Minneapolis, MN: University of Minnesota Press.įanloid. Sound Ideas: Music, Machines, and Experience. Synthesizing Race: Towards an Analysis of the Performativity of Vocal Timbre. East West/ Quantum Leap Symphonic Orchestra. East West/ Quantum Leap Hollywood Orchestra. East West/ Quantum Leap Hollywood Solo Instruments. Musical Understandings and Other Essays on the Philosophy of Music. Who is Hatsune Miku? Accessed: 7 April 2016.ĭavies, S. Contemporary Music Review 17(2): 87-102.Ĭrypton Future Media.
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The Semiotics of Expression in Musical Performance. The Practice of Performance Studies in Musical Interpretation. London: Verso.Įxpression in Performance: Generativity, Perception and Semiosis. Repeated Takes: A Short History of Recording and Its Effects on Music. Gender Trouble: Feminism and the Subversion of Identity. Music Technology and Education: Amplifying Musicality.
Garritan personal orchestra 5 2016 software#
db: Vocaloid Software as Posthuman Instrument. Ann Arbour, MI: The University of Michigan Press.īell, S.A. The construction of virtual instruments as devices of musical expressivity is, therefore an evolving, mutually constructed, and performative endeavour.Īh-Software. Users also contribute to the recontextualisation of human performance by feeding back into the cultures and development cycles of virtual instrument software, where sonic gestures are recurrently refreshed. By feigning the acoustic markers of expressive human musical performance, virtual instrument designers and composer-users encourage the listener to produce, in themselves, the experience of hearing an orchestra or singer. In particular, it examines two case studies-virtual orchestras and virtual singers-to consider how their design and implementation seek to express human music performance by adopting the micro and macro sonic variations of timing, pitch, dynamics, articulation, and ambience, and other limitations imposed by the physical relationship between the player and the instrument. This article is concerned with the ways virtual instruments simulate acoustic human performance.