ACCEDA y BUSTREAMING : Integración de audio y video en el proceso de autoarchivo del Repositorio de la ULPGC en acceso abierto

Presentació de les dues noves plataformes desenvolupades per la Biblioteca de la Universitat de Las Palmas de Gran Canaria: ACCEDA (documentació científica de la ULPGC en accés obert) i BUSTREAMING (documentació multimèdia). Aquestes són dues noves iniciatives de la Biblioteca Universitària emmarcades dins del moviment Open Access, que se sumen a la ja existent Memòria Digital de Canàries, que es va iniciar l'any 2003 amb molt d'èxit. Tot i que el programari utilitzat per al desenvolupament d'ACCEDA és DSpace, la Biblioteca Universitària ha implementat serveis als usuaris i administradors, com per exemple, la possibilitat de dipositar documents sense haver d'utilitzar l'autoarxivament i la incorporació de l'eina BUStreaming desenvolupada per la pròpia Biblioteca.

La Música com a eina d’intervenció en l’àmbit de l’educació social: educació a través de la música, música comunitària i altres funcions socioeducatives de la música

El treball pretén crear una eina divulgativa per a educadors socials interessats en utilitzar la música com a eina i/o estratègia d’intervenció. També intenta explorar un corrent innovador d’intervenció en problemàtiques socials prenent la música com a eina de transformació social. I finalment vol fer reflexionar sobre altres maneres de treballar, de comunicar-se, de créixer com a persones tot utilitzant recursos propis de la cultura i de la societat que ens envolta

Catalogo Web de música y películas

Proyecto final de carrera de Ingeniería Técnica Informática de Sistemas. Se trata de una aplicación web que realiza búsquedas en la base de datos de música y de películas.

La música coral: entre el lleure i el compromís : Aproximació als interessos i pràctiques socials dels joves cantaires del cor Vint & Sing de l'escola de música Ireneu Segarra, de Palma

El tema principal de la nostra recerca és el cant coral juvenil que, per força, implica l'anàlisi de les relacions grupals i dels interessos particulars de cadascun dels cantaires d'un grup coral en relació amb el lleure i l'amistat.

Cross recurrence quantification for cover song identification

There is growing evidence that nonlinear time series analysis techniques can be used to successfully characterize, classify, or process signals derived from realworld dynamics even though these are not necessarily deterministic and stationary. In the present study we proceed in this direction by addressing an important problem our modern society is facing, the automatic classification of digital information. In particular, we address the automatic identification of cover songs, i.e. alternative renditions of a previously recorded musical piece. For this purpose we here propose a recurrence quantification analysis measure that allows tracking potentially curved and disrupted traces in cross recurrence plots. We apply this measure to cross recurrence plots constructed from the state space representation of musical descriptor time series extracted from the raw audio signal. We show that our method identifies cover songs with a higher accuracy as compared to previously published techniques. Beyond the particular application proposed here, we discuss how our approach can be useful for the characterization of a variety of signals from different scientific disciplines. We study coupled Rössler dynamics with stochastically modulated mean frequencies as one concrete example to illustrate this point.

Predictability of music descriptor time series and its application to cover song detection

Intuitively, music has both predictable and unpredictable components. In this work we assess this qualitative statement in a quantitative way using common time series models fitted to state-of-the-art music descriptors. These descriptors cover different musical facets and are extracted from a large collection of real audio recordings comprising a variety of musical genres. Our findings show that music descriptor time series exhibit a certain predictability not only for short time intervals, but also for mid-term and relatively long intervals. This fact is observed independently of the descriptor, musical facet and time series model we consider. Moreover, we show that our findings are not only of theoretical relevance but can also have practical impact. To this end we demonstrate that music predictability at relatively long time intervals can be exploited in a real-world application, namely the automatic identification of cover songs (i.e. different renditions or versions of the same musical piece). Importantly, this prediction strategy yields a parameter-free approach for cover song identification that is substantially faster, allows for reduced computational storage and still maintains highly competitive accuracies when compared to state-of-the-art systems.

Chroma binary similarity and local alignment applied to cover song identification

We present a new technique for audio signal comparison based on tonal subsequence alignment and its application to detect cover versions (i.e., different performances of the same underlying musical piece). Cover song identification is a task whose popularity has increased in the Music Information Retrieval (MIR) community along in the past, as it provides a direct and objective way to evaluate music similarity algorithms.This article first presents a series of experiments carried outwith two state-of-the-art methods for cover song identification.We have studied several components of these (such as chroma resolution and similarity, transposition, beat tracking or Dynamic Time Warping constraints), in order to discover which characteristics would be desirable for a competitive cover song identifier. After analyzing many cross-validated results, the importance of these characteristics is discussed, and the best-performing ones are finally applied to the newly proposed method. Multipleevaluations of this one confirm a large increase in identificationaccuracy when comparing it with alternative state-of-the-artapproaches.

A two-stage approach for tonic identification in indian art music

In this paper we propose a new approach for tonic identification in Indian art music and present a proposal for acomplete iterative system for the same. Our method splits the task of tonic pitch identification into two stages. In the first stage, which is applicable to both vocal and instrumental music, we perform a multi-pitch analysis of the audio signal to identify the tonic pitch-class. Multi-pitch analysisallows us to take advantage of the drone sound, which constantlyreinforces the tonic. In the second stage we estimate the octave in which the tonic of the singer lies and is thusneeded only for the vocal performances. We analyse the predominant melody sung by the lead performer in order to establish the tonic octave. Both stages are individually evaluated on a sizable music collection and are shown toobtain a good accuracy. We also discuss the types of errors made by the method.Further, we present a proposal for a system that aims to incrementally utilize all the available data, both audio and metadata in order to identify the tonic pitch. It produces a tonic estimate and a confidence value, and is iterative in nature. At each iteration, more data is fed into the systemuntil the confidence value for the identified tonic is above a defined threshold. Rather than obtain high overall accuracy for our complete database, ultimately our goal is to develop a system which obtains very high accuracy on a subset of the database with maximum confidence.

Applause identification and its relevance to archival of Carnatic music

A Carnatic music concert is made up of a sequence of pieces, where each piece corresponds to a particular genre and ra¯aga (melody). Unlike a western music concert, the artist may be applauded intra-performance inter-performance. Most Carnatic music that is archived today correspond to a single audio recordings of entire concerts.The purpose of this paper is to segment single audio recordings into a sequence of pieces using thecharacteristic features of applause and music. Spectral flux, spectral entropy change quite significantly from music to applause and vice-versa. The characteristics of these features for a subset of concerts was studied. A threshold based approach was used to segment the pieces into music fragments and applauses. Preliminary resultson recordings 19 concerts from matched microphones show that the EER is about 17% for a resolution of 0.25 seconds. Further, a parameter called CUSUM is estimatedfor the applause regions. The CUSUM values determine the strength of the applause. The CUSUM is used to characterise the highlights of a concert.

Analysis of the folksonomy of freesound

User generated content shared in online communities is often described using collaborative tagging systems where users assign labels to content resources. As a result, a folksonomy emerges that relates a number of tags with the resources they label and the users that have used them. In this paper we analyze the folksonomy of Freesound, an online audio clip sharing site which contains more than two million users and 150,000 user-contributed sound samplescovering a wide variety of sounds. By following methodologies taken from similar studies, we compute some metrics that characterize the folksonomy both at the globallevel and at the tag level. In this manner, we are able to betterunderstand the behavior of the folksonomy as a whole, and also obtain some indicators that can be used as metadata for describing tags themselves. We expect that such a methodology for characterizing folksonomies can be useful to support processes such as tag recommendation or automatic annotation of online resources.

Opportunities for a cultural specific approach in the computational description of music

The current research in Music Information Retrieval (MIR) is showing the potential that the Information Technologies can have in music related applications. Amajor research challenge in that direction is how to automaticallydescribe/annotate audio recordings and how to use the resulting descriptions to discover and appreciate music in new ways. But music is a complex phenomenonand the description of an audio recording has to deal with this complexity. For example, each musicculture has specificities and emphasizes different musicaland communication aspects, thus the musical recordings of each culture should be described differently. At the same time these cultural specificities give us the opportunity to pay attention to musical concepts andfacets that, despite being present in most world musics, are not easily noticed by listeners. In this paper we present some of the work done in the CompMusic project, including ideas and specific examples on how to take advantage of the cultural specificities of differentmusical repertoires. We will use examples from the art music traditions of India, Turkey and China.

Televisión e Internet: ¿Efecto substitución? Comparativa entre los usos y hábitos por parte de los y las adolescentes de institutos de Valencia y Cusco

Este proyecto propone el estudio del efecto substitución de un medio tradicional, la televisión, por un new media, Internet, en el público adolescente de la ciudad de Valencia y Cusco. También analiza los hábitos de uso y consumo de televisión e Internet de los y las adolescentes de ambas ciudades. Para ello, se realiza una revisión de la bibliografía existente sobre la modificación de prácticas comunicativas en ambos países en el público adolescente y se propone el diseño metodológico para llevar a cabo la futura investigación

Una escola municipal de música per al Prat de Llobregat : anàlisi del seu valor públic

Aquest estudi es proposa analitzar el valor públic del projecte d’Escola Municipal de Música del Prat de Llobregat. A aquest efecte, s’enfoca la mesura del valor públic des de múltiples perspectives d’acord amb els treballs de diversos autors. Després d’observar el procés de concreció del projecte i interpretar les característiques i previsions del servei, podem concloure que es tracta, d’entrada, d’un projecte amb valor públic i que el procés seguit n’ha afegit més. D’altra banda, també constatem que hi ha certs aspectes als quals caldrà estar atents durant el seu desplegament.

Proyecto Delta : interrelación entre intérprete, obra y público en la música contemporánea

Proyecto Delta es una iniciativa escenográfica de un programa de concierto específico constituido con obras de música contemporánea. La propuesta se lleva a cabo gracias a un fundamento teórico que incluye reflexiones en torno a las figuras comprometidas en el acto musical escénico: intérprete, obra y público. En esta digresión sus funciones son objeto de un desfiguramiento, fomentando la capacidad creativa del intérprete como director artístico. El concierto se convierte, de este modo, en un producto acabado. En particular, el Proyecto Delta se construye sobre el diálogo entre lo sonoro y lo visual, lo audible y lo visible: la música y el espacio.