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Outputs (216)

The mystery of item 333: an examination of an unidentified instrument (2014)
Presentation / Conference Contribution
Durkin, R. (2014, May). The mystery of item 333: an examination of an unidentified instrument. Paper presented at Objects of Sound, Edinburgh

Within the Edinburgh University Collection of Historical Musical Instruments (EUCHMI), an instrument is held that is currently catalogued as ‘a viola d’amore or treble viol’. This ambiguous description coupled with typical viola d’amore traits, yet l... Read More about The mystery of item 333: an examination of an unidentified instrument.

Your Feedback is Important to Us. (2018)
Exhibition / Performance
Moir, Z. Your Feedback is Important to Us. Performed at Edinburgh International Science Festival. 14 April 2018 - 14 June 2018

Interactive, generative sound art installation.

'The Rest is History': Writing a History of Music Technologies and their Users (2017)
Presentation / Conference Contribution
Harkins, P. (2017, March). 'The Rest is History': Writing a History of Music Technologies and their Users. Presented at Burgundy School of Business Research Seminar, University of Burgundy, Dijon

The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, based on appropriation and repetition, have been particularly common within the... Read More about 'The Rest is History': Writing a History of Music Technologies and their Users.

Continental Drift: 50 years of jazz from Europe (2017)
Presentation / Conference Contribution
Medboe, H., Bares, W., Webster, E., Frost Fadnes, P., Inglis, C., Kahr, M., Stefanie, R., & Heyman, M. (2016, July). Continental Drift: 50 years of jazz from Europe. Presented at Continental Drift: 50 years of jazz from Europe, Edinburgh, UK

Following popular exposure in France to the proto-jazz of James Reese Europe and his 369th “Harlem Hellfighters” Infantry Regiment during the latter years of WW1, the jazz bug took hold and, in the period that followed, spread throughout Europe. This... Read More about Continental Drift: 50 years of jazz from Europe.

Transmission Loss and Found: The Sampler as Compositional Tool (2008)
Presentation / Conference Contribution
Harkins, P. (2008, November). Transmission Loss and Found: The Sampler as Compositional Tool. Paper presented at Art of Record Production (ARP), University of Massachusetts

Item subsequently published as journal article - see item http://researchrepository.napier.ac.uk/id/eprint/5031

Replies to the Critics: The Grounded Theories of Simon Frith (2014)
Presentation / Conference Contribution
Harkins, P. (2014, April). Replies to the Critics: The Grounded Theories of Simon Frith. Paper presented at Studying Music: An International Conference in Honour of Simon Frith, The University of Edinburgh

No abstract available.

The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III (2015)
Presentation / Conference Contribution
Harkins, P. (2015, June). The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III. Paper presented at Over and Over: Exploring Repetition in Popular Music, University of Liege, Belgium

The socio-musical practice of sampling is closely associated with the quotation of sound recordings, the technological processes of looping, and an aesthetic based on appropriation and repetition, primarily within the genres of hip-hop and Electronic... Read More about The Art of the Loop: JJ Jeczalik and the Fairlight CMI Series II/III.

Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies (2016)
Presentation / Conference Contribution
Harkins, P. (2016, December). Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies. Paper presented at Art of Record Production (ARP) conference, University of Aalborg

This paper explores how an ideology of realism was central to the designers of early digital synthesizer/sampling technologies and how discourses of authenticity remain important to the contemporary users of digital technologies in the production of... Read More about Real Sounds, Real Instruments: Discourses of Fidelity and Authenticity in the Design and Use of Digital Sampling Technologies.

The Routledge Research Companion to Popular Music Education (2017)
Book
Dylan Smith, G., Moir, Z., Brennan, M., Rambarran, S., & Kirkman, P. (Eds.). (2017). The Routledge Research Companion to Popular Music Education. Routledge

Popular music is a growing presence in education, formal and otherwise, from primary school to postgraduate study. Programmes, courses and modules in popular music studies, popular music performance, songwriting and areas of music technology are beco... Read More about The Routledge Research Companion to Popular Music Education.

Popular Music Education (R)evolution (2017)
Book Chapter
Smith, G. D., Moir, Z., Brennan, M., Rambarran, S., & Kirkman, P. (2017). Popular Music Education (R)evolution. In G. Dylan Smith, Z. Moir, M. Brennan, S. Rambarran, & P. Kirkman (Eds.), The Routledge Research Companion to Popular Music Education. Routledge

No abstract available.

Beyond Borealism: New Perspectives on the North (2016)
Book Chapter
Medboe, H. (2016). Beyond Borealism: New Perspectives on the North. In Beyond Borealism: New Perspectives on the North (149-166). Norvik Press

Since the 1970s, jazz from Scandinavia has represented a distinct reimagining of the erstwhile American music form with the term “Nordic tone” being liberally applied in the marketing and critical discussion of jazz from the region. While undoubtedly... Read More about Beyond Borealism: New Perspectives on the North.

Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds (2017)
Presentation / Conference Contribution
Harkins, P. (2017, June). Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds. Paper presented at Galpin Society/AMIS Conference on Musical Instruments, The University of Edinburgh

This paper will focus on the Fairlight Computer Musical Instrument (CMI), which is generally regarded as the first commercially available digital sampler. However, its designers, Peter Vogel and Kim Ryrie, were primarily interested in the use of digi... Read More about Following the Fairlight CMI and its Users: The Digital Reproduction of 'Real' Instruments and Sounds.

for Mies (2015)
Other
Burton, K. (2015). for Mies. Chicago, USA

A work for solo cello commissioned by Access Contemporary Music and the Chicago Architecture Foundation. The composition explores the relationship between music and the architecture of German modernist, Mies van der Rohe. The premiere performance... Read More about for Mies.

Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies (2017)
Presentation / Conference Contribution
Harkins, P. (2017, June). Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies. Paper presented at 19th Biennial Conference of the International Association for the Study of Popular Music

The use of digital technologies since the 1980s have changed the way in which music is stored, distributed, and consumed. The use of digital technologies has also reshaped the processes of musical production. This paper, though, challenges the view t... Read More about Questioning the Digital Revolution: Continuity and Change in the Design and Use of Music Technologies.