Automatic snore sound extraction from sleep sound recordings via auditory image modeling

2016 ◽  
Vol 27 ◽  
pp. 7-14 ◽  
Author(s):  
Ryo Nonaka ◽  
Takahiro Emoto ◽  
Udantha R. Abeyratne ◽  
Osamu Jinnouchi ◽  
Ikuji Kawata ◽  
...  
Keyword(s):  
Image Modeling ◽  
Sound Recordings ◽  
Auditory Image

First records of bats (Mammalia: Chiroptera) from Muong Phang cultural and historical site, Dien Bien province, Northwestern Vietnam

2017 ◽  
Vol 39 (3) ◽  
pp. 296-302
Author(s):  
Dao Nhan Loi ◽  
Vu Dinh Thong
Keyword(s):  
Conservation Status ◽  
Forest Area ◽  
Sound Recordings ◽  
The Public ◽  
The Family ◽  
Biological Taxa

The internationally renowned Muong Phang Cultural and Historical Site is located in the Dien Bien Phu region, northwestern Vietnam, and has received special attention from the public because of its great biodiversity. This site has a large forest area and other habitats including lakes, streams, rivers and paddyfield. These habitats would be ideal homes for bats and other biological taxa. However, in general, the wildlife of the Muong Phang Cultural and Historical Site receives little attention from scientists and authorities. Between 2014 and 2016, we conducted  series of surveys for bats in Muong Phang. Bat capture and sound recordings were the main procedure to obtain materials and data necessary for the assessment of diversity and conservation status. The results of the surveys this time revealed that there are 19 species of bats belonging to 7 genera, 5 families in the study area. Of these, a Myotis sp. is different from all the previously recorded Myotis bats from Vietnam, and, a Rhinolophus sp. is different from every described species of the family Rhinolophidae. This paper provides the first records of bats from Muong Phang with remarks on their taxonomy and conservation status.   Citation: Dao Nhan Loi, Vu Dinh Thong, 2017. First records of bats (Mammalia: Chiroptera) from Muong Phang cultural and historical site, Dien Bien province, Northwestern Vietnam. Tap chi Sinh hoc, 39(3): 296-302. DOI: 10.15625/0866-7160/v39n3.10641. *Corresponding author: [email protected]. Received 29 August 2017, accepted 10 September 2017 

WARNER MUSIC UK LTD v TUNEIN INC (No. 2)

2019 ◽  
Vol 136 (12) ◽  
pp. 834-846
Author(s):  
Keyword(s):  
Copyright Infringement ◽  
Communication To The Public ◽  
Sound Recordings ◽  
The Public ◽  
Internet Radio ◽  
Commercial Importance ◽  
General Terms ◽  
Injunctive Relief ◽  
Services Use

Abstract H1 Copyright – Infringement – Sound recordings – Internet radio services – Use of hyperlinks – Communication to the public – Scope and effect of finding on liability – Relief – Whether injunctive relief in general terms appropriate – Whether injunctive relief and any damages inquiry should be limited to specific instances of liability established at trial – Proportionality – Stay of injunction pending appeal – Costs – Relevance of commercial importance of particular issues

A Basic Music Library: Essential Scores and Sound Recordings, 4th ed., Volume 1: Popular Music ed. by Edward Komara

2018 ◽  
Vol 65 (3) ◽  
pp. 174-176
Author(s):  
Sandi-Jo Malmon ◽  
Colin Coleman ◽  
Maristella Feustle
Keyword(s):  
Popular Music ◽  
Sound Recordings

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

The less considered part: Contextualizing immaterial heritage from German colonial contexts in the restitution debate

2021 ◽  
pp. 1-11
Author(s):  
Mèhèza Kalibani
Keyword(s):  
Cultural Heritage ◽  
Human Remains ◽  
Digital Archive ◽  
Museum Collections ◽  
Inventory Data ◽  
Sound Recordings ◽  
German Colonialism ◽  
The People ◽  
Available Information

Abstract Since the publication of the “restitution report” by Felwine Sarr and Bénédicte Savoy in November 2018, the debate around the restitution of African artifacts inherited from German colonialism in German museums has become increasingly intense. While the restitution debate in Germany is generally focused on “material cultural heritage” and human remains, this reflection attempts to contextualize the “immaterial heritage” (museum collections inventory data, photographs, movies, sound recordings, and digital archive documents) from German colonialism and plead for its consideration in this debate. It claims that the first step of restitution consists of German ethnological museums being transparent about their possessions of artifacts from colonial contexts, which means providing all available information about museum collections from colonial contexts and making them easily accessible to the people from the former German colonies.

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