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Media Management, Sound Editing and Mixing
... Such interactions pursue deeper audience engagement, enriching the mediated communication experience. Similarly, broader gaming and gamification elements can further trigger interest, thus keeping users' attention tireless [1][2][3][4]8,18,29,30]. Film/video and audio-only serious games have become very popular in this context, being broadly employed in modern education applications [61][62][63], with the audio track being considered critical in shaping the pace and the atmosphere of the digital narrations and interactions [54,[62][63][64]. Nonetheless, seamless interactivity is nowadays granted and deployed through the Web, allowing students to pick up and control their own learning pace and space [47,65]. ...
... While this situation is initially considered a disadvantage, at the same time, it represents a real-world scenario, given that most educators do not have access to professional studio infrastructures. Thus, careful accommodations had to be followed, i.e., utilizing closemiking techniques, making recordings during silent periods, or using rooms with the lowest possible reverb (e.g., in bedrooms with open closets so that clothes would offer additional sound absorption) [27,54,64]. Furthermore, typical post-processing operations had to be incorporated and standardized in the procedure, i.e., checking the noise levels and overall dynamic range of the captured signals so that background noise removal (restoration) and mastering techniques would be applied once needed [54]. ...
The present paper focuses on digital storytelling in education, emphasizing the teachers’ needs for familiarization with the new technological conditions. A transmedia integration approach is deployed to make productive, blended learning values while utilizing the availability of tools and reusable media assets in a component-based software engineering kind of framework. The topic is inspired by social studies and humanities, which seem to be marginalized, usually failing to make effective technological facilities, benefits, and contemporary findings. It is, therefore, necessary to modernize the approach to literary things and integrate digital means into the educational process, even in cases where a sole educator on humanities and social studies lacks multidisciplinary support in multimedia authoring and software engineering. This modernization can be made possible by introducing user-friendly tools into the process, representing not just a fashion of the time but mostly a renewal trend, aiming at revitalizing the course to attract and engage learners. Undoubtedly, today’s pupils have grown up with technological means, becoming familiar with their use so their implication causes undiminished interest in most daily activities, including schooling. In this high-tech generation, it is absurd to address the transmission of knowledge and values in outdated ways. Apart from adapting to the timely students’ needs, lesson plans on transmedia storytelling practices can also satisfy tutors, triggering their inspiration and co-creation potentials. Overall, the project aims to attract the trainees’ interest with the help of digital tools, which will be embodied in the educational processes by teachers without technical know-how, while continuously adapting to the audience’s needs. Research hypothesis and questions are formed as part of the deployed human-centered interactive design, aiming at modeling best practices for teaching classical topics, such as the “Odyssey”.
... As Pietila (2019) and Waldfoel (2021) mention, musicians-entrepreneurs became truly independent since digital technologies help them to enter the music industry easier in comparison to the past and provide them with a variety of tools, especially mobile applications [13,14]. By employing contemporary applications, Kalliris, Dimoulas, and Matsiola (2019) claim that many processes which are related to music can nowadays be performed in digital home studios [15]. Music entrepreneurs can handle hardware with the use of music applications and that fact led to the emergence of a wider spectrum of talents because of the reduced expenditures. ...
... I believe that new technologies work more dynamically than traditional media, especially for the younger ages who are familiar with them". In the same perspective is the answer given by I. 15, "I believe that designing and creating an application that is directly or indirectly related to music can evolve the form of communication and create new stronger ties with the young audience". Furthermore, it is pointed out that the inherent interactivity of smartphone applications "keeps the audience alert" (I.14) in a "more enjoyable" (I.17) "interesting" (I.16), and "entertaining" (I.5) way. ...
Digital entrepreneurship through the employment of smartphones and other handheld device applications is an innovative form of customer approach. Particularly, in the cultural marketing sector, new technologies, such as social media, YouTube channels, and mobile applications may increase the artists’ visibility and attract new partnerships and audiences. In this framework, entrepreneurs-musicians who attended a seminar on Management of Cultural Heritage, Communication and Media in Greece were asked to promote their activities through the creation of a smartphone application. After having completed their endeavor and further evaluated it, they participated in qualitative research based on the theory of experts’ interviews, as a case study. The aim of this paper, through thematic analysis of the conducted interviews, is to reflect upon the dynamics of new technologies in music entrepreneurship. As derived by the analysis, the use of mobile applications may effectively approach prospective partnerships and audiences, especially if combined with other contemporary forms of communication, and results in presenting enhanced professionalism. Audience engagement, which is an issue that is sought while attempting to optimize promotion processes, may be achieved if a further practice is performed. As the research was conducted during the COVID-19 pandemic, the demand for this form of making publicly known their artwork was considered essential.
... The Internet offers several advantages over traditional media: increased visibility for musicians and their official websites through search engine optimization (SEO), real-time interaction with stakeholders, gaining valuable data on target audiences, and measuring the effectiveness of public relations (Amodu, 2019). Musicians today use digital technology in the music production process mostly in their home studios (Kalliris, 2019). They then bring their music to market via global online distributors such as CD Baby or TuneCore and promote it on various platforms (Giones, 2017). ...
Generation X musicians represent a transitional generation from the pre-digital to the digital era, having experience developing their musical identity and reputation in both. In the process of development, they use digital platforms to communicate directly with their audience and utilize digital technologies for music production, promotion, and distribution. They face the challenge of reconciling traditional approaches they used in the pre-digital era with the demands of the digital ecosystem. The research explores how Generation X musicians perceive the transition process in developing their musical identity using traditional and digital approach and what strategies they have adopted to keep relevance in the digital age. The results show that Generation X musicians use a combination of traditional and digital tools, with this integrated approach proving to be the best strategy for them as they feel nostalgic and question the quality and relevance of online visibility. Although they have digital skills, they still need to take full advantage of the digital ecosystem in building their digital identity, leaving room for further research in this area. Continuing previous autoethnographic research identifying the information and communication challenges musicians face when developing their digital identity, this study gives deeper insight on those challenges from the perspective of Generation X musicians and the difficulties they face when reconciling traditional musical practices with new digital opportunities. The input of this study is to contribute to the existing knowledge of the strategies musicians from various generations use to build digital identity, in particularly Generation X musicians, and to contribute to a better understanding of musician digital identity overall since there is a lack of research in this field.
... On the other hand, the final lesson plan (a) was based on creating material and content for radio courses (see Kalliris et al. 2019;Matsiola et al. 2019;Salmon et al. 2008) to the requirements of a cross-disciplinary profession (such as the journalistic profession today), focusing mainly on legal issues in technology-related fields (see Veglis and Maniou 2019;Royal 2017;Gillmor 2016;Giannakoulopoulos et al. 2012;Siapera and Veglis 2012;Carpenter 2009;Donaldson and Knupfer 2002); and (b) accurately applied the theory of audiovisual media in education ), using differentiated teaching-"which can be applied to mixed capacity faculties by providing challenging learning experiences" , p. 7)-as a teaching methodology employing audiovisual media technologies (see also Nicolaou 2019a;Hewitt et al. 2013;Shattery and Rapp 2003); while the main journalists' ICTs skill was webcasting skills (Veglis and Pomportsis 2014, p. 65). Moreover, the 3P (presage-process-product) model of classroom learning (Biggs 1995, p. 397) was applied, which is based on the theory of constructivism (von Glasersfeld 1985), where learners can learn anything at any age (Marzano 2004;Biggs 1996). ...
In this article, the quality of media studies education through effective teaching utilizing audiovisual media technologies and audiovisual content (audiovisual media communications) to budding journalists as adult learners (18 years and older) is researched, with results primarily intended for application in radio lessons at all educational levels and disciplines (including adult education). Nowadays, audiovisual media communications play an important role in the modern and visual-centric way of our life, while they require all of us to possess multiple-multimodal skills to have a successful professional practice and career, and especially those who study media studies, such as tomorrow’s new journalists. Data were collected after three interactive teachings with emphasis on educational effectiveness in technology-enhanced learning, through a specially designed written questionnaire with a qualitative and quantitative form (evaluation form), as case study experiments that applied qualitative action research with quasi-experiments. The results (a) confirmed (i) the theory of audiovisual media in education, as well as (ii) the genealogical characteristics and habits of budding journalists as highlighted in basic generational theory, something which appears to be in agreement with findings of previous studies and research; and (b) showed that (i) teaching methodology and educational techniques aimed primarily at adult learners in adult education kept the interest and attention of the budding journalists through the use of such specific educational communication tools as audiovisual media technologies, as well as (ii) sound/audio media, as audiovisual content may hold a significant part in a lecture.
... Synchronous or asynchronous sound effects, which are used to indicate the location, guide the audience's attention and feelings, determine the time of the day and the mood, indicate inputs and outputs, denote transitions, create unrealistic effects, as well as the narrative of the "virtual world" (e.g., video games, computer games and the internet), satisfying the needs of realism and also the interest of the user [33], and finally; 4. Navigation aids and/or advanced human-computer audio interaction, including various tools for identifying and classifying audio events/standards, speech recognition systems, and other modern semantic analysis services [34][35][36]. ...
Contemporary rapid advancements in science and technology have brought about and continue to convey change in all sectors of everyday life. Education as one of the institutions of utmost importance is directly and indirectly affected by these changes and needs to redefine its role to keep pace. Nowadays, information and communications technologies (ICTs), in which audiovisual media technologies are encompassed, are omnipresent in all educational levels and disciplines, including media studies. New approaches in traditional teaching methodologies, which demand many skills and abilities by the educators, are reformulated through utilization of audiovisual media technologies, aiming at administering enriched outcomes that support the objectives that are set, especially in the field of media studies, where audiovisual media technologies are an integral part and even inherent in many of the courses (journalism, radio, television, social media, public relations, communication). The purpose of this paper is to summarize, through a theory and bibliographic review, the various implementations of audiovisual media as the educational techniques and tools that will provide technology-enhanced learning. As this paper is an investigation of the effects of audiovisual media in technology-enhanced learning and teaching methodologies, the contribution to the discipline of media studies is straightforward.
Generation Z has been a major issue for the Media and Education in recent years, since its members, as digital natives, do not rely on standard broadcast programs and physical media to consume content, while in various educational environments seem to be easily bored. Therefore, their favored ways of learning and the corresponding environments are of great interest for the educators. The paper explores, through quantitative methodology, the attitudes, opinions, and behaviors of undergraduate students of Generation Z from Greece, in relation to their music and radio programs preferences. This work is based on an audience survey employing a quantitative method of analysis that uses a specially designed digital questionnaire, trying to outline the case of Greece based on Generation Z, and by extension the ethos of Greek Generation Z from and through music and radio. It is therefore an empirical study whose findings and results will contribute to the quality of Higher Education and Adult Education, as well as the media environment and space. Finally, the findings and results confirmed the genealogical characteristics and habits of members of Generation Z, as highlighted in the existing literature, and agreed with findings and results of previous empirical studies and research papers regarding radio listening habits and the role of radio in the public sphere.
In this research article, budding journalists’ views and attitudes toward a prototype radio lesson that was designed and implemented utilizing advanced technologies are explored. These budding journalists hail from Greece, were studying in higher education or adult education at the time of the survey, and belong to one of the three youngest generational cohorts within adults (i.e., 18 years old and older); Generation X where their members are now known as Xers, Generation Y where their members are already known as Millennials, and Generation Z where their members are also known as Zoomers—XYZ Generations. The survey’s research data were collected after six interactive teachings from and through advanced technologies, via a specially designed written questionnaire, as case study experiments that applied qualitative action research with quasi-experiments. Analysis, descriptive, and inductive statistics were then applied to them from and through Internet applications and services. This is essentially empirical qualitative research that incorporates the approach of the quantitative analysis process. The resulting survey findings and results mainly contribute to the quality of higher education and adult education, especially in the field of media studies. Likewise, they align with or confirm previous contemporary empirical studies and research papers on the genealogical characteristics, habits, and ethos of the XYZ Generations, and particularly regarding the similarities among Xers and Zoomers, as well as that Generation Z can also be characterized as a “Sound Generation”. An important conclusion of this research article is that the success of a lesson or even a lecture seems to depend (a) on the good design and/or development of the lesson plan itself, as well as (b) on the communication classroom where the educational praxis takes place. Finally, these survey findings and results are also considered encouraging and could be utilized (a) for any audiovisual-supported teaching–learning procedure for adult learners; (b) across various educational levels and disciplines; or even (c) for members other generational cohorts.
This chapter investigates and highlights the multiple-multimodal skills from and through literature review that can be acquired in the educational path using audiovisual media technologies and audiovisual content (henceforth, audiovisual media communications) through technology-enhanced learning perspective. Specifically, an attempt is made to present how audiovisual media communications help both learners and educators to achieve these multiple-multimodal skills under the lens of responsive and responsible learning. The chapter also presents and comments indicative ways in which audiovisual media communications can be used in technology-supported learning environments to support teaching, professional learning, and effective educator-learner communication. Nowadays society is highly visualized and requires all of us, in addition to being receptive to the continual use of audiovisual media communications, to somehow maintain a positive outlook for every emerging cutting-edge innovation, and to possess a plethora of skills in order to survive in this digital technological world.
A brand can get close to its audience by engaging and delivering integrated healthy and sustainable communication experiences from and through the Internet and social media. A de novo approach of branded content consumption in relation to generations and generational cohorts is highlighted through a literature review in the present article. The latest three adult generational cohorts (18 years old and older) (i.e., Generation X, Generation Y and Generation Z) are outlined under the lenses of digital technological socio-cultural culture, the media environment, and the audiovisual industry. In this framework, an audiovisual-supported case study of the Greek chocolate “LACTA” which is a characteristic and typical paradigm of re-approaching the brand, (a) through branded content from and through the Internet and social media; as well as (b) through generations is presented. The ultimate research purpose of this article is to spotlight the role of communication in sustainable development to reach a better and more sustainable future through multi-generational marketing. Therefore, historical elements through a rich bibliographic literature as a source of further study regarding the Internet, social media, and the last three generational cohorts with adults are provided. Moreover, since not all generational cohorts are alike, it also grants useful insights for the prospective role of public relations and advertising as well as modern marketing communication through the aforementioned brand case study for healthy, robust and sustainable communication.
In light of the extensive exposure to digital narratives through technology and the exposure to a vast amount of audiovisual material every day, researchers, since many years, have been investigating the effects of using and applying digital storytelling methodology. This chapter briefly describes the critical role of digital storytelling methodology in learning from and through technology-enhanced learning utilizing audiovisual educational content. Finally, it presents the various types of audiovisual content that can impose different kinds of cognitive load on the adult learner's working memory through the research findings and results of various studies.
The rapid development in the fields of science, and information and communications technologies (ICTs) in recent years, as well as the COVID-19 pandemic, have brought about and continue to generate transformations in education, especially in adult education. In the present enhanced research article, an interactive audiovisual-supported lesson plan template and its non-verbal role in our psychological and mental health are presented in-depth. Applying a multi-methodological approach, this interactive communication-themed adult lesson plan was executed and researched in the framework of an interactive seminar in Greece and Cyprus. The research sample consisted of adult educators as adult learners and involved empirical research where technology-enhanced research methods were applied as qualitative action research with quasi-experiments. Specifically, the attitudes and views of an adult educators’ group regarding the research interactive seminar that they participated in were re-investigated through secondary analysis. Similarly, the suitability of specific ICTs as well as whether they help or change the physical or psychological and mental health of the participants at the end of a teaching–learning procedure as a pilot case study were explored. The research results, effects and findings confirm the current debate on the employment of contemporary ICTs within the framework of the educational process of technology-enhanced learning in education (including adult education) as derived both by the literature, and by the research results, effects and findings of various other studies and research papers. Finally, this study can be used as a basis for creating and/or developing an audiovisual-supported lesson plan aimed at adult learners as an alternative approach.
The purpose of this article is to provide information and data that will contribute to the enhancement of teaching methodologies for online learning and teaching at all educational levels and disciplines (including adult education). More specifically, it attempts to shed light on media trends and prospects as educational activities and techniques, as well as on the utmost importance of the use of television content as audiovisual educational content. This venture focuses on the cases of Cyprus and Greece following literature materials and reviews, research results, and findings of previous numerous studies and research papers from and through the Internet that were considered as background. The aforementioned were applied in a pilot case study with adult educators as adult learners (18 years and older), providing literature data and historical elements as a source of further study. The findings from the pilot case study revealed that the television content can also shape (adult) learners’ perceptions on how they understand and learn in an online environment in regard to the generational cohort they belong. Furthermore, the results disclosed that an online educational process utilizing audiovisual media technologies and audiovisual content (audiovisual media communications) may support technology-enhanced learning through non-verbal communication in the new streamlined digital era in which we live. An important conclusion of this article is that the (inter)national genealogical characteristics and habits, the inherent and special characteristics, and the socio-cultural identity of learners, as well as the various (inter)national social-phenomena (e.g., media socio-phenomenon, Internet phenomenon, revival phenomenon, etc.) of the past and present, should always be taken into account by education administrators and educators, in order to maintain a quality and sustainable future education.
Multichannel signal processing techniques are usually concerned with extracting information about sources from several received signals. In this paper, we describe an emerging field of multichannel audio signal processing where the inter-channel relationships are exploited in order to manipulate the multichannel content. Applications to real-time, automatic audio production are described and the necessary technologies and the architecture of such systems are presented. The current state of the art is reviewed, and directions of future research are also discussed.
The aim of the present work is to understand how the use of the notion of soundscapes can help in conceiving ambient sound environments in cities. From an overview of recent studies concerned with assessments of sound phenomena in everyday-life situations, the relevance of the soundscape concept is discussed as structuring the categorical space of sounds in cities. Urban planners have been interviewed concerning the soundscape concept in relation to urban projects. This allows comparisons between acousticians’, city-users’ and planners’ categorizations of urban soundscapes, and suggests that a simple decrease of noise level or the elimination of noises is insufficient to account for urban environment improvement.
This chapter examines current trends and future perspectives of semantically enhanced media/multimedia, considering all forms of non-linear storytelling, sharing, and authoring. Background is presented providing basic definitions, involved technology, achieved progress, and limitations. Recommendations and future research directions are then stated, aiming at serving a two-fold target: firstly, to present new, user-friendly forms of collaborative creativity, multimedia authoring, and storytelling; secondly, to suggest innovative adaptation mechanisms that can be utilized in both the media production and consumption ends. A semantically enhanced media authoring model is proposed, integrating most of the expected progress in augmented user interaction and the upcoming Web 2.0/3.0 services. The targeted Semantically-enhanced Multimedia Storytelling Services aim at engaging audience members individually, validating their involvement and positively reinforcing personal participation in the narration. Thus, the importance of the topic toward the transition to the Web 3.0 era is revealed.
http://repository.kallipos.gr/handle/11419/4343
This work emanates from the particularities residing in contemporary social media storytelling, where multiple users and publishing channels capture and share public events, experiences, and places. Multichannel presentation and visualization mechanisms are pursued along with novel audiovisual mixing (such as time-delay-compensation enhancement, perceptual mixing, quality-based content selection, linking to context-aware metadata, and propagating multimedia semantics), thus promoting multimodal social media editing, processing, and authoring. While the exploitation of multiple time-based media (audio and video) describing the same event may lead to significant content enhancement, difficulties regarding detection and temporal synchronization of multimedia events have to be overcome. In many cases, one can identify events based only on audio features, thus performing an initial cost-effective annotation of the multimedia content. This article introduces a new audio-driven approach for temporal alignment and management of shared audiovisual streams. The article presents the theoretical framework and demonstrates the methodology in real-world scenarios. This article is part of a special issue on social multimedia and storytelling.
The current work focuses on the implementation of audiovisual production technologies for preservation and demonstration of local tradition and Cultural Heritage (CH). A methodological framework is proposed for the production, digitization, authoring and presentation of audiovisual (AV) content, related to traditional music and dances. The production chain involves content restoration, description and management of archived material, direction of documentary biographies, demonstration of folk customs and filming of chore-theatrical acts, aiming at creating historical, informative and educational video entities. User-friendly interactive environments are employed by means of media browsing menus and multilingual narration, utilizing new AV authoring. The proposed methodology has been implemented on the occasion of a folk-heritage multilingual DVD video production and its enhanced Web-TV edition1. The paper brings forward novel theoretical, technical and mostly methodological guidelines in preserving and disseminating CH, using state of the art AV production technologies.
A purely aesthetic approach may be problematic when artists wish to deal with the external world as part of their work. The work of R. Murray Schafer in formulating soundscape studies is described, as well as the author's extension of that work within a communicational framework. Soundscape composition is situated within a continuum of possibilities, each with its own practice of mapping or representing the world. Current technological possibilities as well as ethical issues involved in the production process are discussed, along with the author's work in creating a multi-channel imaginary soundscape. The evolving nature of the listener's relationship to acoustic space over the last century is discussed in comparison to developments in soundscape composition.
Film studies criticism is no longer silent on the subject of sound. Critical and historical debates about cinema sound have developed into a rich, exciting and fertile field, covering a range of theoretical and historical areas. However, it is true to say that despite the productivity of this new field, discussions of the production and meaning of sound effects, and the creative roles of sound personnel in producing them has remained relatively neglected, particularly in Hollywood's studio era. This article addresses post-production sound in this era, and aims to bring inventive sound work to light by examining historically specific discourses on sound technologies and practices written by sound personnel in the studio era. These discourses are drawn primarily from professional journals such as the Journal of the Society of Motion Picture Engineers and American Cinematographer, and the article reveals that sound personnel had a nuanced and sophisticated understanding of the uses of sound from the early 1930s onwards. The article draws on illustrative examples from films produced by Universal Studios in the 1930s, and from the Val Lewton 'horror unit' at RKO-Radio Pictures in the 1940s, to demonstrate the ways in which early 'sound design' was used to fabricate textures of the horror and thriller film, and to construct soundscapes rich in suspenseful affects.
Sound design constructs audibility of the world. Sounds carry information about the world. When listening to sounds, communication takes place. These are well-known facts for speech sounds, but it is also true for other types of sounds such as music or product sounds. In principle, each acoustic event can be perceived as a sign carrier through which information about the world is communicated. In its ultimate sense, sound designers are engineers of communication. To be successful, they have to take design decisions on the basis of how listeners perceive sounds and of what kind of communication takes place during this event. Suitable sound design requires a special view on acoustic/auditory communication. Among other sciences, semiotics deals with this field.
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