INTRODUCTION

Music is ancient, pan-cultural, and, given the spontaneous emergence of song in children,

virtually universal. Moreover, we can immediately and almost infallibly recognize it, even where

it comes from a culture that is foreign to us. Though I may be unable to predict how such music

will continue or to recognize errors, and though it may sound strange to me, I can be in no doubt

that it is music I am hearing. I say "almost infallibly" because there are marginal cases and a few

possibilities for error. Some musical-sounding things are not music: infantdirected speech, 1 tone

languages, 2 and "sing-song" linguistic accents, as in Welsh. In addition, some patterned sounds

might be mistaken for music: these include sound art, sounds that are not humanly made, such as

the nightly rice field frog chorus, and sounds that are not primarily intended to have the aural

character they have, such as incidental auditory effects in the factory making crystal glasses

In considering the view that something might be defined as music in terms of its relation to

musical traditions, the earlier account construed this rather narrowly. The emphasis was both on

the musical "language" and structural conventions of that tradition and on the present musician's

intention to use these to add new music to the tradition. But there are two other respects in which

the relation to tradition might be important in defining music.

Music is one of the cultural products, both music created from communal systems such as

Traditional Music as well as music created by individuals such as Classical Music, Jazz, Rock,

Pop and more. As a cultural product, every Music has a system that is understood by the other

Music Maker and the person who plays it. The most basic things of music are Space (Scale &

Interval) and Time (Rhythm & Metrum) and also there are elements that contain both elements

such as Texture & Dynamic. Therefore the work of Music or Music Arrangement is determined
by the understanding of Music Theory of the person who made it So to understand music we

have to understand the most important thing (Fundamental) of the music itself, then before

beginning the lesson of Composition we will return to Basic Music Theory.

Afrobeat, a form of dance-protest music created by Fela, is described as “revolutionary;” a

soundtrack of resistance that gave Nigerians hope during a dark era of military dictatorship.1

Olufela Ransome-Kuti Over the last two decades, a different type of afrobeat revolution has been

underway as diverse cities around the world gain new Fela protégés. Once the self-declared

“Black President” of a Lagos-based counterculture, Fela has become the iconic center of a

worldwide movement. Fela received his early education at Abeokuta Grammar School where his

father was principal. It was under the stern tutoring of Rev. Kuti that Fela learnt the rudiments of

music and piano. As a teenager, Fela started making periodic trips to Lagos some 60 miles south

of was born in the town of Abeokuta in Southwestern Nigeria. Scion of an elite Christian family,

his father Israel Oludotun Ransome Kuti was a respected Anglican clergy man and founding

chairman of the Nigerian Union of Teachers (NUT). Fela’s mother, Funmilayo Ransome Kuti,

was a foremost women’s rights activist and nationalist who, in the 1940s, led a series of

landmark protests against separate tax rates for women that resulted in the abdication of the Egba

monarch, Oba Ademola II.

Abeokuta—where he made his first forays into the world of Nigerian popular music singing with

The Cool Cats, a band directed by highlife veteran, Victor Olaiya. In August 1958, Fela traveled

to England to attend the Trinity College of Music, London. He spent the next five years taking

courses in music history, theory, harmony, counterpoint, and trumpet. While in London, Fela

also immersed himself in the city’s vibrant nightlife, forging musical affiliations with the West

Indian community, and especially the jazz scene. It was during these years that Fela began his
decade-long quest to forge a distinctive “global” sound. Upon returning to Nigeria in December

1962, Fela began pushing the stylistic boundaries of the Lagosian soundscape; forming a jazz

quintet at first, and later, a highlifejazz fusion band called Koola Lobitos. Though floundering

initially, Fela continued to experiment, tapping ideas from current popular music trends and

blending those influences with indigenous African rhythms. It was this heady mix of highlife,

jazz and traditional African music that Fela labeled “afrobeat” in 1968. The following year, he

traveled to the United States where he encountered Black Panther activism, an experience that

spurred him on to new ideological and creative directions.

Beginning with Nippon Columbia's 14-bit quad-video-based system in the early 1970s,

commercial digital recording was developed further in the U.S. by Soundstream and 3M in reel-

to-reel fixed-head formats. By the early 1980s, Sony and JVC had introduced formats based on

video helical scanning techniques. Sony, Mitsubishi, Studer, and Otari developed large

multichannel fixed head recorders during the 1980s, and the 1990s saw the introduction of

modular digital multitrack (MDM) recorders providing 8-channel capability on small format

video tape cartridges. Many current MDMs make use of hard disc storage as an alternative to

tape cartridges.

Computer based systems are in the ascendancy today, and these use both magnetic and magneto-

optical disc formats for data storage. One advantage of digital recording is that it can provide a

direct path from the studio to the home listener; in most cases, the original digital tracks are not

subjected to any analog signal processing or further re-recording, and what ends up in the
consumer's living room, via Compact Disc (and higher density formats), is a program virtually

identical to what the producer and engineer heard in their postproduction studio. Signals in the

digital domain can be copied, or cloned, with absolute accuracy; that is, the copy is identical in

content to the source that produced it. Since a digitally quantized signal is represented solely by a

string of numbers, it is independent of the recording medium. As a result, further signal

processing and transfer operations in the digital domain will show no deterioration in terms of

distortion, time base instability, or increase in noise. In this chapter we will discuss the basics of

digital recording technology, beginning with the fundamentals of signal sampling, and moving

on through the assorted hardware it takes to realize a practical recording system. We will then

continue with discussions of industry standards and future directions for digital.

Research on how to use audio information is of course enormous, in particular the spinoff from

the inventions and studies done by Alexander Graham Bell and Thomas Alva Edison. Their work

which was the early starting point for more than 100 years of research and development up until

the modern day audio technology used in music, TV, radio and film industry as well as the

ubiquitous mobile phones used every day by billions of people around the world. This paper

concerns the use of audio information in social science research. The end product of research is

oftentimes the written publication: a journal article, report or thesis. In the process the unique

qualities of sound are filtered out since it needs to be transformed to text which cannot capture

all aspects of the audio dimension. Another disadvantage is that the original sound is not

accessible as a reference for the reader. In research which focuses on studying people’s ideas,

concepts, knowledge, stories and interpretations about different phenomena oral interaction is

one of the most fruitful methods to use. Observations of behavior can be used, but provides

limited information about the reason of the observed behavior or about a person’s thinking and
understanding of a topic since it might not produce any specific observable behavior at all.

Questionnaires are also of limited value for obtaining deep information about people´s attitudes,

experience and views. Many researchers therefore prefer the oral interview, more or less

structured according to a preplanned interview guide with themes only or a set of fixed

questions. A key strategy when interviewing is to speak as little as possible as interviewer and let

the respondent talk as much as possible. The role of the interviewer is to start the respondent

with relevant questions and posing them in a natural conversational flow, to follow up answers

given with oral or visual feedback, to re-focus the dialogue when it diverges into irrelevant topics

and to encourage the respondent in order to provide as true, relevant, interesting and rich

information as possible. In many cases these oral interactions is not recorded by the researcher at

all. The loss of information is large considering that one hour of normal conversation on average

is an exchange of 10.000 words, and the researcher might only have noted a few keywords and

sentences on a piece of paper as record. Memory fades away very quickly, if not noted quickly

after the interview; most information will be lost forever. In cases where interviews are recorded,

the process of transcribing is very time consuming and the audio files are seldom accessible for

further analysis. We therefore suggest a more structured, flexible and efficient mode of using

audio information with ICT in the following.

Before the development of high-speed, low-cost digital computers and analog-to-digital

conversion circuits, all recording and manipulation of sound was done using analog techniques.

These systems functioned by creating an electrical analog of sound waves, converting it to a

magnetic representation, storing and processing that analog replica. The analog signal was

continuous, meaning that no matter when one looked at the signal, there was a voltage or current

value which represented the instantaneous value of the signal. In order to make use of digital
representations of the sound, it is necessary to convert the continuous analog representation into

a non-continuous stream of numbers. Digital representations of analog signals are not

continuous, saving the measured voltages only at the time of each sample. This would appear to

throw away the values that exist between samples, which one would expect to severely reduce

the accuracy of the new digital representation. As we will see, this is an incorrect assumption as

is borne out both by the sampling theorem and by practical implementation.