The Integration of Digital Audio Workstation andAudio-Visualization: The Case of VISUAL PHOTIS

• Main Authors: Wu,KUAN-CHEN, 吳冠辰
• Other Authors: CHEN,SZU-WEI
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/84v27a

碩士 === 輔仁大學 === 音樂學系 === 106 === The thoughts of music creation and the manners of music presentation have undergone changes following an era of constant innovation in digital music production software and hardware. This study involved a discussion of digital music production methods studied by the author, as well as a technical discussion of audio–visual integration. The author’s audio–visual integration project VISUAL PHOTIS was used as an example to analyze the user experience and technological integration of music production software and hardware. The author first integrated the experience of using four digital music production software packages—Imaschine 2, Maschine 2, Cubase 8, and Bitwig 2—as the starting point of this research. After obtaining basic understanding of the functions and production concepts of these software’s function areas, tool areas, work areas, and time axes, this study conducted an in-depth exploration of the three digital music software packages (Imaschine 2, Maschine 2, Cubase 8) used by the author during the three stages of music composition—creative thinking, integration, and postmixing. The author’s application was also analyzed to illustrate how the author customized a music production workflow. After exploring the basic concepts of the digital music software and creative tools employed, the author’s audio–visual integration project VISUAL PHOTIS was analyzed. The project combined the results of the author’s integration of digital music and video production software packages. The author also analyzed the actual experience of performing the work to provide a complete presentation of the work as a series of materials and integration methods. Finally, the author interviewed other users and students from the digital music class taught by the author to collect their questions on the actual operation of the interactive audio–visual production process designed by the author, and then integrated their responses to questions regarding digital music composition. The purpose was to improve the production techniques explored by the author, and implement them in digital music education to provide audiovisual integration researchers with substantial assistance and references for the future.