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Wade Hendryx
Much of the work on electronica and digital music making has positioned itself within a theoretical framework related to relationships of space and place. Scholars such as Theberge (2004) and Prior (2008) for example, have used network theory derived from the work of Castells, Urry and Appadurai to analyse how digital technologies such as the laptop and the virtual studio can be seen as part of a trend towards the use of nomadic digital machines, thereby changing our relationship to place and space. A similar preoccupation can be found in poststructuralist influenced work manifest within the proliferation of scholarly attention on glitch music over the past ten years.
In its broadest sense scholarly work on glitch has been interested in how particular sounds and techniques can be understood within the context of the global digital realm as having a profound effect upon our subjectivities. More specifically this work has used post-Deleuzian theory to examine our relationship to technology and space. In these approaches the enculturation of digital technologies into our everyday lives is understood as symptomatic of a wider deterritorialization, that is, the loosening of the relationship between culture and place as we spend more of our time engaging and interacting with virtual space. So, in this theoretical framework, the sounds of glitch are taken as reflecting our relationships with contemporary landscapes, both real-world and virtual. Take for instance, the following quotes both of which frame glitch within specific aspects of Deleuzian theory:
Toynbee (2000) makes a distinction between differing recording modes within the history popular music production: documentary, ventriloquism and virtual sonic environments, each of which have particular historic and aesthetic implications. Toynbee notes that even though the second half of the twentieth century saw the widespread adoption of technologies which have enabled endless possibilities there remains a strong conservative realist urge within many popular music recordings. Many recordings in genres such as rock, certain types of pop or country strive towards a replication (or representation) of the sound of real musicians performing in a real space. For example, another striking element of the comparison between the spectrograms is the much more even distribution of frequencies above the 40 Hz range. So for example, even though in Fig. IV we can clearly see frequencies toward the upper end of the range (around the 5-10 K Hz mark) they are part of a much less separated soundworld. So there is a fuller and more connected soundworld in which frequencies sit together in a way which is much more akin to the reflections of soundwaves in real space. The high frequencies we can see in Fig. IV are resultant from high-hats (which generally operate in the 8khz - 12K range) as well as reflections from (either natural or processed) reverberation.
Despite my initial reservations about the conceptual failure of the Uncanny Space event, I think we did end up producing an event which was transformative, albeit in a way which unravels and asks questions of the dominant theorization of electronic music over the past ten years. A transformation took place in the way in which music and sound were experienced through that particular environment with its specificities of technology, volume, sociality and space. The event is thus illustrative of the way in which how and where we hear and feel music has a central role in shaping musical experience. This has wider implications for the study of music as it is crucially important that we take into account the cultural and physical context of a given musical experience. As Kassabian (2010) has noted, the study of music has too long been blind to listening environments and the differing modes of engagement within listening that they might engender.
The ill-posedness of the nonparametric instrumental variable (NPIV) model leads to estimators that may suffer from poor statistical performance. In this paper, we explore the possibility of imposing shape restrictions to improve the performance of the NPIV estimators. We assume that the function to be estimated is monotone and consider a sieve estimator that enforces this monotonicity constraint. We define a constrained measure of ill-posedness that is relevant for the constrained estimator and show that, under a monotone IV assumption and certain other mild regularity conditions, this measure is bounded uniformly over the dimension of the sieve space. This finding is in stark contrast to the well known result that the unconstrained sieve measure of ill-posedness that is relevant for the unconstrained estimator grows to innity with the dimension of the sieve space. Based on this result, we derive a novel non-asymptotic error bound for the constrained estimator. The bound gives a set of data-generating processes for which the monotonicity constraint has a particularly strong regularization effect and considerably improves the performance of the estimator. The form of the bound implies that the regularization effect can be strong even in large samples and even if the function to be estimated is steep, particularly so if the NPIV model is severely ill-posed. Our simulation study conrms these findings and reveals the potential for large performance gains from imposing the monotonicity constraint.
Students in the program strive to develop higher level of artistic and instrumental achievements, and improve industry-relevant fundamental musical skills. They are able to participate in group activities and field trips, attend concerts, visit professional recording studios and offer community service project in the city of Denver. Students can contribute to team projects that include creating a demo recording, a live show, an electronic press kit, a business plan, and a strategy for success in the music industry.
The Steering Committee plays an essential part in monitoring the quality and progress of the GRRATE project, (Guitars, Robotics and Rocketry Advanced Technological Education), as it develops. The Committee is instrumental in implementing and sustaining project management standards, structures and policies, addressing external threats and issues that could impact the project, and approve changes that need to be made. The top priority of the Committee is to make sure that the project is a success.