Tarren Mason

ENGL 1102

Prof Smith

24 October 2022

How will music integrate into the virtual world

Music has shown a comprehensive integration of the virtual world. The integration gets based on the use of digital technology through inventions and innovation to facilitate future music development. Therefore, the paper analyzes how music has integrated into the virtual world through literature-reviewed sources.

The study by Negus on the evolution of music from creator to data examines the post-record music industry and the digital conglomerate. The research describes the changing music industry through the identification of the three dynamics which underpin the shift towards the post-record music industry as opposed to the past methodology of musical production. The examination of evolutionary music production begins with redefining the content provider instead of the creative producer. The change extrapolates the historical changes in the music industry from the record pedagogy as a product of the producer’s content delivered to the audience. Through analytical approaches to the current social media video storage, the author creates a comprehensive description of the role of YouTube in the production and conveyance of contemporary and future music (Negus 380). As such, the study focuses on the tension between youtube and the recording artist as a mechanism of disputes existing on the changing perception of the artist and the economic value of the recorded music in the virtual world, and the adoption of the virtual genre in the music industry. The third phase of the research creates a determinative framework through which the debate on the music virtual evolution affects the market in the present and future economic value. The exploration of the virtual value of the musical future enables the research to make a comparative analysis through the debate on the morality and the worth of music. The comparative analysis, therefore, conceptualizes the application of digital recording as a mechanism of acquiring the value as data rather than commercializing the art virtual and the sound expression (Negus 384). As a result, contemporary artists have predicted the application of the digital conglomerate, which will play a significant role in music production and delivery hence showing the virtual change in the music that defines the economic and moral value of future music. Most importantly, benefiting from musical production has shaped and has continued to shape the musical circulation of recording through the emergence of the music dynamics, patterns of conflict, and musical structures. As compared to the research by Serafin, the two studies have created a framework through which music has evolved economically through the changes in production and the perception of the producers and the consumers. The two studies also extrapolate how the changes in technologies have contributed to the economic changes of the producers, giving different approaches to the software application. The differences exist where the research by Serafin majors on the use of software to create changes in the music evolution while the Negus research extrapolates the economic value of music through the changes of the economic perception of music as portrayed by the current and the future use of the music technology.

The changing role of the teacher has been exhibited by the methodologies of teaching music education through the use of virtual technology, according to the study by Nart. The research compares the traditional approaches to music teaching with the contemporary and future use of technology to facilitate the learning of music by the students. The use of technology has created student-centered approaches as opposed to traditional teacher-centered approaches in teaching and the delivery of music education. Notably, the current and future music teaching and learning show how the teachers are no longer the source of musical knowledge and the channel for sharing eth musical information. However, the teacher’s work remains a guiding role to the students who will access the information and manage the process constructively (Negus 78). Currently, the teacher guiding the students in musical education must use the technological requirement to achieve the curriculum objectives. Compared with the previous research by Pransky (2001), the students are the next generation because they are native speakers of the digital language due to their extreme nature of spending much time on the internet and computers. The continuous use of the iPhone, video games, and television brands to examine the digital transformation of music has enabled teachers to guide the students to the evolutionary musical approaches (Negus 79). The study examines the musical evolution in the visual world using internet sources, publications, and current literature findings to examine the current and future of teaching and learning music in a visualized and technological world. As a result, the findings depicted using software in music education to provide effective and efficient education for teachers and learners. In contrast, the research by Nart bears similarities with the Negus study because of the need to generate contemporary and evolutionary approaches to music production. The evolution describes how music visualization has enabled music producers, teachers, and learners to adopt technological innovation to solve the historical challenges that were exhibited in the industry. Also, differences exist where the Nart study describes the student and teacher in the technological changes of music visualization while the Negus research focuses on the producers and the artists as a mechanism of visualizing the music economy.

The research by Serafin et al. on virtual reality musical instruments describing the state of arts, design principles, and future directions extrapolates the future of music in the virtual world. The explanation majors on the effects of contemporary technology on the development of music and the consumer or the learner’s perception. Currently, humans have exhibited rapid development in technological innovation and inventions in the field of music. The development has created the reality approaches through which the learners and the music producers have adopted the technologies to create a systematic overview and the musical adaptations to the contemporary listening and learning of music. Historically, the artist has used virtual musical instruments for a long duration; hence the study creates an evolutionary relationship between the current, past, and future of music through a paradigm of technological applications (Serafin 23). Notably, the study uses the term virtual to describe the application of software knowledge and applications to simulate the future of the music industry and music performance. The existing musical instruments and their control methods require a captivating interface for comprehensive sound and virtual; image expression. As such, the author depicts that the future of music involves the simulation of the music components delivered by the head mount display. Consequently, the future of music, as depicted by the study, asserts that it will fully be a form of immersive visualization even though the current musical practices have not yet received the attention of conceptualizing the methodology (Serafin 40). Most importantly, the study presents nine design guidelines that evaluate, examine and analyze different case study approaches that consider music production’s present, past, and future through evolutionary visualization. The study compares with the Nart research due to the use of software technology in the present and the future generation to develop music. However, differences exist where the two research where one uses the educational approaches to the students, and the Serafin research examines the industrial use of software to change the visualization and reality.

Overall, the review sources have provided the evolution of music through technology to facilitate the changes in the visual perception of music. The study by Nart compares the traditional and teacher-centered approaches to music studies with the contemporary and future student-centered learning of music to show the evolution and software innovation in music teaching and learning. Also, Negus, in his research, depicts how music has technologically evolved to form the visual perception that has encouraged the economic development of the producers. Moreover, the study by Sarafin creates an overview through which an individual can understand the role of software in music evolution and visualization. Therefore, future research should examine how technology has shaped the changes in music production, teaching, and learning.

Works Cited

Nart, Sevan. “Music software in the technology integrated music education.” Turkish Online Journal of Educational Technology-TOJET 15.2 2016: 78–84. https://eric.ed.gov/?id=EJ1096456

Negus, Keith. “From creator to data: the post-record music industry and the digital conglomerates.” Media, Culture & Society 41.3 2019: 367–384. https://journals.sagepub.com/doi/abs/10.1177/0163443718799395

Serafin, Stefania, et al. “Virtual reality musical instruments: State of the art, design principles, and future directions.” Computer Music Journal 40.3 (2016): 22–40. https://direct.mit.edu/comj/article-abstract/40/3/22/94804