Library of Congress catalog:

"A cumulative list of works represented by Library of Congress printed cards."

Report on copyright implications of digital audio transmission services : a report of the register of copyrights.

Accompanied by "Appendix--comment letters, docket RM 90-6" (ix, 615 p. ; 28 cm.).

Victor records.

General catalogue, issued May and November.

A plasticidade acústica de uma população de Boto - Cinza, Sotalia Guianensis (Van Banédén, 1864) (Cetacea, Delphinidae), na região Nordeste do Brasil

The environmental characteristics can modify the acoustics of a species due to habitat, time of day and year. Therefore, this study investigated the relationships between seasons, tide, daily cycle of tides, times of day and different habitat and noise emission of S. guianensis. Sound recordings occurred in the Curral’s Cove and Lagoon Complex of Guaraíras (CLG) in the municipality of Tibau do Sul/RN. Whistles are emitted with lower frequency during rainy season and spring tide while clicks are higher; whistles, clicks and calls have higher frequency during ebb tide. These modifications can be related with turbidity and prey availability. The whistles and clicks occurrence are higher at night probably because luminosity is lower. Furthermore, the whistles and clicks frequency reduction overnight allows the sound to travel longer distance and helps the view which is limited; but the minimum frequency increase was needed to catch the prey. The low occurrence of calls could be related to the small group size. The acoustic changes at night may be partly influenced by light levels as prey availability that is larger in this period. Whistle frequencies and click initial frequency are higher in CLG than Curral’s cove that permitted good precision. However, click central frequency is lower and may be connected to tracking the area. Several factors may be associated with such modifications as background noise, bottom and others. This study supports the hypothesis that S. guianensis presents an acoustic plasticity according to the local conditions where the species is embedded and adapts to the environmental changes.

La musique acousmatique et le documentaire : vers un art sonore informatif

Ce mémoire rend compte de la création du « documentaire acousmatique » Littorale, une œuvre musicale à visée informative, élaborée au moyen de prises de son in situ, d’extraits d’archives sonores et des témoignages de sept informateurs. En tissant des liens entre les deux disciplines médiatiques que sont la composition acousmatique et le documentaire, l’œuvre retrace l’histoire d’un impressionnant corpus de chants folkloriques récoltés en 1918 par l’ethnologue Marius Barbeau, dans les villages côtiers de Sainte-Anne-des-Monts et Tourelle, Haute-Gaspésie. La démarche de composition s’élabore ainsi en trois axes communicants : la mise en lumière de liens préexistants mais sous-exploités entre le documentaire et l’acousmatique, la recherche de terrain entourant le répertoire de chansons et sa résurgence dans la population actuelle de la Haute-Gaspésie, ainsi que la composition des trois mouvements musicaux constituant Littorale. À travers l’investigation d’enjeux identitaires qui découlent de la redécouverte du répertoire et la mise en lumière de certains flous historiques qui y sont reliés, cet alliage de deux genres médiatiques vise l’émergence d’une démarche de composition informative et socialement pertinente.

La musique acousmatique et le documentaire : vers un art sonore informatif

Ce mémoire rend compte de la création du « documentaire acousmatique » Littorale, une œuvre musicale à visée informative, élaborée au moyen de prises de son in situ, d’extraits d’archives sonores et des témoignages de sept informateurs. En tissant des liens entre les deux disciplines médiatiques que sont la composition acousmatique et le documentaire, l’œuvre retrace l’histoire d’un impressionnant corpus de chants folkloriques récoltés en 1918 par l’ethnologue Marius Barbeau, dans les villages côtiers de Sainte-Anne-des-Monts et Tourelle, Haute-Gaspésie. La démarche de composition s’élabore ainsi en trois axes communicants : la mise en lumière de liens préexistants mais sous-exploités entre le documentaire et l’acousmatique, la recherche de terrain entourant le répertoire de chansons et sa résurgence dans la population actuelle de la Haute-Gaspésie, ainsi que la composition des trois mouvements musicaux constituant Littorale. À travers l’investigation d’enjeux identitaires qui découlent de la redécouverte du répertoire et la mise en lumière de certains flous historiques qui y sont reliés, cet alliage de deux genres médiatiques vise l’émergence d’une démarche de composition informative et socialement pertinente.

Music copyright in the digital age: creators, commerce and copyright - an empirical study of the UK music copyright industries

Copyright markets, it is said, are ‘winner takes all’ markets favouring the interests of corporate investors over the interests of primary creators. However, little is known about popular music creators’ ‘lived experience’ of copyright. This thesis interrogates key aspects of copyright transactions between creators and investors operating in the UK music industries using analysis of various copyright related documents and semi-structured interviews with creators and investors. The research found considerable variety in the types of ‘deal’ creators enter into and considerable divergence in the potential rewards. It was observed that new-entrant creators have little comprehension of the basic tenets of copyright, but with experience they become more ‘copyright aware’. Documentary and interview evidence reveals creators routinely assign copyright to third party investors for the full term of copyright in sound recordings: the justification for this is questionable. An almost inevitable consequence of this asymmetry of understanding of copyright and asymmetry of bargaining power is that creators become alienated from their copyright works. The empirical evidence presented here supports historic and contemporary calls for a statutory mechanism limiting the maximum copyright assignment period to ten-years.

Motion pictures & sound and video recordings in the National Archives.

Mode of access: Internet.

"Who Are You" by DeepBlue Orchestra - Production of Recordings

The development and recording of 10 songs for a CD to accompany DeepBlue's new live orchestra production "Who Are You" which began touring Australia and Asia in 2012.

Detection of rain in acoustic recordings of the environment

Environmental monitoring has become increasingly important due to the significant impact of human activities and climate change on biodiversity. Environmental sound sources such as rain and insect vocalizations are a rich and underexploited source of information in environmental audio recordings. This paper is concerned with the classification of rain within acoustic sensor re-cordings. We present the novel application of a set of features for classifying environmental acoustics: acoustic entropy, the acoustic complexity index, spectral cover, and background noise. In order to improve the performance of the rain classification system we automatically classify segments of environmental recordings into the classes of heavy rain or non-rain. A decision tree classifier is experientially compared with other classifiers. The experimental results show that our system is effective in classifying segments of environmental audio recordings with an accuracy of 93% for the binary classification of heavy rain/non-rain.

Detection of rain in acoustic recordings of the environment using machine learning techniques

This thesis is concerned with the detection and prediction of rain in environmental recordings using different machine learning algorithms. The results obtained in this research will help ecologists to efficiently analyse environmental data and monitor biodiversity.

Monaural sound source separation using covariance profile of partials

This paper addresses the problem of separation of pitched sounds in monaural recordings. We present a novel feature for the estimation of parameters of overlapping harmonics which considers the covariance of partials of pitched sounds. Sound templates are formed from the monophonic parts of the mixture recording. A match for every note is found among these templates on the basis of covariance profile of their harmonics. The matching template for the note provides the second order characteristics for the overlapped harmonics of the note. The algorithm is tested on the RWC music database instrument sounds. The results clearly show that the covariance characteristics can be used to reconstruct overlapping harmonics effectively.

Diel and seasonal timing of sound production by black drum (Pogonias cromis)

Acoustic recorders were used to document black drum (Pogonias cromis) sound production during their spawning season in southwest Florida. Diel patterns of sound production were similar to those of other sciaenid fishes and demonstrated increased sound levels from the late afternoon to early evening—a period that lasted up to 12 hours during peak season. Peak sound production occurred from January through March when water temperatures were between 18° and 22°C. Seasonal trends in sound production matched patterns of black drum reproductive readiness and spawning reported previously for populations in the Gulf of Mexico. Total acoustic energy of nightly chorus events was estimated by integration of the sound pressure amplitude with duration above a threshold based on daytime background levels. Maximum chorus sound level was highly correlated with total acoustic energy and was used to quantitatively represent nightly black drum sound production. This study gives evidence that long-term passive acoustic recordings can provide information on the timing and location of black drum reproductive behavior that is similar to that provided by traditional, more costly methods. The methods and results have broad application for the study of many other fish species, including commercially and recreationally valuable reef fishes that produce sound in association with reproductive behav

One sound or two? Object-related negativity indexes echo perception.

The ability to isolate a single sound source among concurrent sources and reverberant energy is necessary for understanding the auditory world. The precedence effect describes a related experimental finding, that when presented with identical sounds from two locations with a short onset asynchrony (on the order of milliseconds), listeners report a single source with a location dominated by the lead sound. Single-cell recordings in multiple animal models have indicated that there are low-level mechanisms that may contribute to the precedence effect, yet psychophysical studies in humans have provided evidence that top-down cognitive processes have a great deal of influence on the perception of simulated echoes. In the present study, event-related potentials evoked by click pairs at and around listeners' echo thresholds indicate that perception of the lead and lag sound as individual sources elicits a negativity between 100 and 250 msec, previously termed the object-related negativity (ORN). Even for physically identical stimuli, the ORN is evident when listeners report hearing, as compared with not hearing, a second sound source. These results define a neural mechanism related to the conscious perception of multiple auditory objects.