TRANSFORMATIVE TECHNOLOGIES IN THE CREATION OF MUSICAL AUDIO ALBUMS: A STUDY OF THE 21ST CENTURY SCIENTIFIC AND TECHNOLOGICAL REVOLUTION
DOI:
https://doi.org/10.28925/2518-766X.2025.108Keywords:
sound recording, sound engineering, vocal performance, Technology, music, culture, aesthetics.Abstract
The scientific and technological progress fundamentally reshapes vocal performance, exerting a profound influence on sound design. Phono fixation technologies and sound amplification enhance the emotional impact of musical works, while studio innovations facilitate the creation of compositions utilizing advanced audiovisual methods. The proliferation of multimedia tools, however, introduces dissonant phenomena, such as audio graphic simulations and accelerated processing times. The utilization of studio equipment demands performers possess qualified education, microphone proficiency, and expertise in mixing and mastering. Vocal sound quality remains paramount, and audio processing must align with artistic visions. Sound engineers, leveraging computer technologies, strive for optimal audio composition fidelity. In the 21st century, sound engineering tools are transforming musical works, yet technical audio processing remains a phenomenological enigma for listeners. The role of the sound engineer in composition is pivotal, as they sculpt the final sound design. Ukrainian artists critique contemporary pop music, questioning the reliance on computer technologies. Sound engineering necessitates refinement, systematization, and professional qualification. Creative thinking, auditory analysis, technical training, and musical education are indispensable. Sound recording and processing technologies generate diverse aesthetic expressions. Sound engineers must comprehend narrative structures and scores and may co-compose music. Sound amplification is crucial for popular music, with microphones capturing dynamic nuances. Studios are tailored to specific objectives, and stereo music technology introduces novel mediatization techniques.
The technical audio recording process is intricate, with sound engineers employing mixing consoles to construct stereophonic soundscapes. Technological advancements in recording impact musical culture, popularizing the concept of fixed musical "albums." Audio recording techniques function as a cultural determinant, with sound engineers and performers needing to perceive the composition. Artists should master microphone adjustments, and audio engineers must manipulate vocal processing. Transformative technologies are constrained by limitations and knowledge gaps regarding sonic characteristics and recording techniques.
Downloads
References
Bondarenko, A., & Shulhina, V. (2011). Muzychna informatyka. Navchalnyi posibnyk [Musical Informatics. Textbook]. Kyiv: NAKKKIM [in Ukrainian].
But, O. (2007). Zvuk yak komponent obraznoi struktury klipu [Sound as a component of the figurative structure of the clip] (Extended abstract of candidate dissertation). Kyiv [in Ukrainian].
Haidenko, I. (2005). Rol muzychnykh kompiuternykh tekhnolohii u suchasnii kompozytorskii praktytsi [The role of musical computer technologies in modern composer practice] (Candidate dissertation). Kharkivskyi derzhavnyi universytet im. I. P. Kotliarevskoho, Kharkiv [in Ukrainian].
Dorofeieva, V. (2017). Teoretychni aspekty suchasnoi ukrainskoi muzyky [Theoretical aspects of modern Ukrainian music]. Kyiv: Vydavnytstvo Lira-K [in Ukrainian].
Diachenko, V. (2018). Tvorcha diialnist ukrainskykh zvukorezhyseriv druhoi polovyny XX – pochatku XXI stolittia: teoriia, istoriia, praktyka [Creative activity of Ukrainian sound engineers of the second half of the XX – beginning of the XXI century: theory, history, practice] (Candidate dissertation). Kyiv. Nats. Akad. Ker. Kadriv kultury i mystetstv [in Ukrainian].
Zheleznyi, A. (1989). Nash druh – hramplativka [Our friend - record]. Kyiv: Muzychna Ukraina [in Ukrainian].
Karnak, A. (2005). Novi kompiuterni tekhnolohii v suchasnii muzytsi ta kontseptsiia tvorchoho protsesu [New computer technologies in modern music and the concept of the creative process]. Suchasne mystetstvo: zb. nauk. pr., 2, 123–135 [in Ukrainian].
Kushch, Ye. (2013). Elektromuzychnyi instrumentarii yak evoliutsiinyi faktor muzychnoi kultury XX – pochatku XXI stolit [Electromusical instruments as an evolutionary factor of musical culture of the XX – beginning of the XXI centuries] (Candidate dissertation). Kyiv. Nats. Akad. Ker. Kadriv kultury i mystetstv [in Ukrainian].
Kocherzhuk, D. (2023). Ukrainian art agency «Territory-A»: a synthesis of ukrainian folklore and popular music in sound recording. Narodna tvorchist ta etnolohiia, 4, 69–77 [in Ukrainian].
Mazur, O. (2021). Muzychni arkhivni fondy radiokompanii v umovakh tsyfrovizatsii [Musical archival funds of radio companies in the context of digitalization] (Doctor of Philosophy dissertation). Kyiv. Nats. akad. ker. kadriv kultury i mystetstv [in Ukrainian].
Maksymiuk, S. (2003). Z istorii ukrainskoho zvukozapysu ta dyskohrafii [From the history of Ukrainian sound recording and discography]. Lviv – Vashynhton: Vydavnytstvo Ukrainskoho Katolytskoho Universytetu [in Ukrainian].
Newell, F. (2002). Project studii: Malenkie studii dlia velikikh zapisei: prakticheskoe rukovodstvo [Project studios: Small studios for great recordings: a practical guide]. Vinnytsia: I.S.P.A. [in Ukrainian].
Otkydach, V. (2013). Estradnyi spiv i shou-biznes: navch. -metod. posib. [Pop singing and show business: teaching method. manual]. Vinnytsia: Nova knyha [in Ukrainian].
Uzhynskyi, M. (2013). Osoblyvosti mystetstva zapysu khudozhnoho movlennia v konteksti stvorennia zvukovoho obrazu [Features of the art of recording artistic speech in the context of creating a sound image]. Naukovyi visnyk Kyivskoho natsionalnoho universytetu teatru, kino i telebachennia imeni I. K. Karpenka-Karoho, 13, 317–326 [in Ukrainian].
Tormakhova, A. (2015). Rymeik chy variatsii? Do problemy rozvytku suchasnoi muzychnoi kultury [Remake or variations? To the problem of the development of modern musical culture]. Universytetska kafedra, 4, 7–16 [in Ukrainian].
Tormakhova, V. (2007). Ukrainska estradnoi muzyka i folklor: vzaiemopronyknennia i syntez [Ukrainian pop music and folklore: interpenetration and synthesis] (Extended abstract of candidate dissertation). Kyiv [in Ukrainian].
Tormakhova, V. (2014). Kharakterni rysy ukrainskoi pop-muzyky kintsia XX – pochatku XXI stolit [Characteristic features of Ukrainian pop music of the late XX - early XXI centuries]. Universytetska kafedra. Kulturolohiia. Aksiolohiia. Filosofiia. Etnolohiia. Dyskursii. Retsenzii. Anotatsii: almanakh, 3, 165–172 [in Ukrainian].
Fadeieva, K. (2009). Suchasni kompiuterni tekhnolohii u doslidzhenni muzychnoi kultury [Modern computer technologies in the study of musical culture] (Doctor of Arts dissertation). Kyivskyi natsionalnyi un-t kultury i mystetstv, Kyiv [in Ukrainian].
