Academic literature on the topic 'Audio cover song'

People often have trouble recognizing a song especially, if the song is sung by a not original artist which is called cover song. Hence, an identification system might be used to help recognize a song or to detect copyright violation. In this study, we try to recognize a song and a cover song by using the fingerprint of the song represented by features extracted from MPEG-7. The fingerprint of the song is represented by Audio Signature Type. Moreover, the fingerprint of the cover song is represented by Audio Spectrum Flatness and Audio Spectrum Projection. Furthermore, we propose a sliding algorithm and k-Nearest Neighbor (k-NN) with Bhattacharyya distance for song recognition and cover song recognition. The results of this experiment show that the proposed fingerprint technique has an accuracy of 100% for song recognition and an accuracy of 85.3% for cover song recognition.

We introduce KaraMIR, a musical project dedicated to karaoke song analysis. Within KaraMIR, we define Kara1k, a dataset composed of 1000 cover songs provided by Recisio Karafun application, and the corresponding 1000 songs by the original artists. Kara1k is mainly dedicated toward cover song identification and singing voice analysis. For both tasks, Kara1k offers novel approaches, as each cover song is a studio-recorded song with the same arrangement as the original recording, but with different singers and musicians. Essentia, harmony-analyser, Marsyas, Vamp plugins and YAAFE have been used to extract audio features for each track in Kara1k. We provide metadata such as the title, genre, original artist, year, International Standard Recording Code and the ground truths for the singer’s gender, backing vocals, duets, and lyrics’ language. KaraMIR project focuses on defining new problems and describing features and tools to solve them. We thus provide a comparison of traditional and new features for a cover song identification task using statistical methods, as well as the dynamic time warping method on chroma, MFCC, chords, keys, and chord distance features. A supporting experiment on the singer gender classification task is also proposed. The KaraMIR project website facilitates the continuous research.

<p class="Abstract"><strong>Abstract:</strong> Vlog-based ECHA is a learning medium that was developed by adjusting the character and needs of students in sitory subjects. ECHA consists of elaboration, cover song, historycal content, and audio visual. It means that the media elaborates the song that the lyrics have changed with historycal material in the form of audio visual. ECHA media was developed with vlogs to faciltate teacher and student access that can later be used independently. The result of the trial show that this product development is pratical and can increase motivation in class XI IPS 3 SMA Negeri 1 Sumberpucung.</p><strong>Abstrak:</strong> ECHA berbasis Vlog merupakan media pembelajaran yang dikembangkan dengan menyesuaikan karakter dan kebutuhan siswa dalam mata pelajaran Sejarah. ECHA terdiri dari kata <em>elaboration, cover song</em>, <em>historycal content, and audio visual</em>. Asrtinya adalah media yang mengolaborasikan lagu yang telah diubah liriknya dengan materi Sejarah dalam bentuk audio visual. Media ECHA dikembangkan dengan Vlog untuk memudahkan akses guru maupun siswa yang nantinya juga dapat digunakan secara mandiri. Hasil dari uji coba menunjukkan bahwa produk pengembangan ini praktis dan dapat meningkatkan motivasi kelas XI IPS 3 di SMA Negeri 1 Sumberpucung.

The development of contemporary American music is clearly reflected in the integration of black composers, performers, and their songs into mainstream popular record charts. Between 1953 and 1978 a fascinating role reversal occurred. During that quarter century black artists shifted from creators to revivalists. The same role reversal did not apply to white artists, who tended to evolve along a more consistent audience-acceptance continuum. How can this 25-year cycle of social change best be illustrated? What particular elements of black music dramatically entered the pop spectrum during the fifties, and later gained dominance by the end of the sixties? Why did black artists become more and more conservative during the late seventies? A careful examination of audio repetition – cover recordings and song revivals – offers a great deal of revealing information about changes in social, economic and artistic life in America after 1953.

ABSTRAKTopik dari artikel ini adalah kearifan lokal pada lagu-lagu album Bali Kumara I. Tujuan dari penulisan artikel ini adalah untuk mendeskripsikan kearifan lokal pada lagu-lagu album Bali Kumara. Metode yang digunakan dalam studi ini adalah deskriptif kualitatif. I Komang Darmayuda selaku komposer lagu-lagu album Bali Kumara merupakan informan dalam penelitian ini. Data berupa rekaman audio lagu-lagu album Bali Kumara. Kearifan lokal dalam lagu-lagu album Bali Kumara terletak pada penggunaan tangga nada/titi laras pelog dan slendro, serta penggunaan bahasa Bali singgih dan sor. Tangga nada pelog dan slendro diimplementasikan pada melodi-melodi utama, baik oleh alat musik keyboard, gamelan, maupun vokal. Pada beberapa lagu terdapat juga tangga nada lain, seperti diatonis dan kromatis, dimana tidak terlalu memudarkan warna pelog dan slendro. Jika dilihat dari sudut pandang sor singgih basa (tingkatan-tingkatan dalam bahasa Bali), sebagain besar lagu-lagu di album Bali Kumara menggunakan basa singgih, dan beberapa di antaranya menggunakan basa sor. Lagu pop Bali sebagai salah satu kesenian profan yang tumbuh dan berkembang di Bali sudah seyogyanya mengandung unsur-unsur kearifan lokal Bali. Kearifan lokal yang terkandung pada lagu-lagu album Bali Kumara dapat menjadi pijakan bagi para pelaku lagu pop Bali khususnya komposer dalam menciptakan karya-karya berikutnya, sehingga identitas lagu Pop Bali tetap terjaga.Kata kunci: musik, kearifan lokal, lagu, album Bali Kumara. ABSTRACTThe topic of this article covers local wisdom in the songs of Bali Kumara first album. The purpose of writing this article is to describe the local wisdom in the songs of the Bali Kumara first album. The method used in this study is descriptive-qualitative. I Komang Darmayuda as a composer of Bali Kumara first Album songs is an informant in this research. The data is audio recording of songs in Bali Kumara first album. The Balinese local wisdom in the songs of Bali Kumara first album lies in the use of tone named titi laras pelog and slendro, as well as the use of the Balinese language such as singgih and sor. Pelog and slendro tones are implemented in the main melodies, either by keyboard instruments, gamelan or vocals. In some songs, there are also other scales, such as diatonic and chromatic, which do not diminish the pelog and slendro colors. Seen from the point of view basa singgih (levels in the Balinese language), most of the songs in the album Bali Kumara uses basa singgih, and some basa sor. Balinese pop songs as one of the profane art that grow and develop in Bali should contain elements of the Baliense local wisdom. The local wisdom contained in the songs of Bali Kumara album can be a foothold for the performers of Balinese pop songs especially composers in creating works, so that the identity of the Balinese pop songs is maintained. Keywords: music, local genius, song, album of Bali Kumara.

One time-consuming aspect of bioacoustic research is identifying vocalizations from long audio recordings. SongScope (version 4.1.5. Wildlife Acoustics, Inc.) is a computer program capable of developing acoustic recognizers that can identify wildlife vocalizations. The goal of the current study was to compare the effectiveness of manual identification of black-capped chickadee vocalizations to identification by SongScope recognizers. A recognizer was developed for each main chickadee vocalization by providing previously annotated audio of chickadees. Six chickadees (three male, three female) were recorded in one-hour intervals with and without anthropogenic (i.e., man-made) noise to provide a variety of samples to test the recognizer. These recordings were analyzed via the recognizer and two human coders, with an additional third coder reviewing a random subset of recordings for reliability. Strong agreement was found between the human coders, κ = 0.76, p < 0.00. Agreement between human coders and the recognizer was moderate for fee songs, κ = 0.46, p < 0.00, and strong for fee-bee songs, κ = 0.77, p < 0.00, as well as for chick-a-dee calls, κ = 0.82, p < 0.00. Results showed that male chickadees produced more tseet calls in silence and females produced more gargle calls during noise. No differences were found in vocalizations based on time of day. Our observations also suggest that the chick-a-dee recognizer was capable of identifying gargle and tseet calls along with the intended chick-a-dee calls. Overall, SongScope was effective at identifying fee-bee songs and chick-a-dee calls, but not as effective for identifying fee songs. These recognizers can allow for faster acoustic analyses (by approximately four times) and be continuously improved for greater accuracy.

Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios. Research methodology. In the course of the study two concepts – «remake» and «remix» – were under consideration and comparison, on practical examples of some works of famous pop vocalists from Ukraine and abroad. So, the research methodology includes the methods of analysis for consideration of the examples from the Ukrainian, Russian and world show business and the existing definitions of the concepts “remake” and “remix”; as well as comparison, checking, coordination of the latter; formalization and generalization of data in getting the results of our study. The modern strategies of the «remake» invariance development in the work of musicians are taken in account; also, the latest trends in the creation of versions of «remix» by world class artists and performers of contemporary Ukrainian pop music are reflected. The results of the study. The research results reveal the significance of terminology pair «remix» and «remake» in the activities of the pop singer. It found that the differences of two similar in importance terms not all artists in the music industry understand. The article analyzes the main scientific works of specialists in the audiovisual and musical arts, in philosophical and sociological areas, which addressed this issue in the structure of music, such as the studies by V. Tormakhova, V. Otkydach, V. Myslavskyi, I. Tarasova, Yu. Koliadych, L. Zdorovenko and several others, and on this basis the essence of the concepts “remake” and “remix” reveals. The phenomenon of the “remake” is described in detail in the dictionary of V. Mislavsky [5], where the author separately outlined the concept of “remake” not only in musical art, but also in the film industry and the structure of video games. The researcher I. Tarasovа also notes the term “remake” in connection with the problem of protection of intellectual property and the certification of the copyright of the performer and the composer who made the original version of the work [13]. At the same time, the term “remix” in musical science has not yet found a precise definition. In contemporary youth pop culture, the principle of variation of someone else’s musical material called “remix” is associated with club dance music, the principle of “remake” – with the interpretation of “another’s” music work by other artist-singers. “Remake” is a new version or interpretation of a previously published work [5: 31]. Also close to the concept of “remake” the term “cover version” is, which is now even more often uses in the field of modern pop music. This is a repetition of the storyline laid down by the author or performer of the original version, however, in his own interpretation of another artist, while the texture and structure of the work are preserving. A. M. Tormakhova deciphered the term “remake” as a wide spectrum of changes in the musical material associated with the repetition of plot themes and techniques [14: 8]. In a general sense, “a wide spectrum of changes” is not only the technical and emotional interpretation of the work, including the changes made by the performer in style, tempo, rhythm, tessitura, but also it is an aspect of composing activity. For a composer this is an expression of creative thinking, the embodiment of his own vision in the ways of arrangement of material. For a sound director and a sound engineer, a “remix” means the working with computer programs, saturating music with sound effects; for a producer and media corporations it is a business. “Remake” is a rather controversial phenomenon in the music world. On the one hand, it is training for beginners in the field of art; on the other hand, the use of someone else’s musical material in the work can neighbor on plagiarism and provoke the occurrence of certain conflict situations between artists. From the point of view of show business, “remake” is only a method for remind of a piece to the public for the purpose of its commercial use, no matter who the song performed. Basically, an agreement concludes between the artists on the transfer or contiguity of copyright and the right to perform the work for profit. For example, the song “Diva” by F. Kirkorov is a “remake” of the work borrowed from another performer, the winner of the Eurovision Song Contest 1998 – Dana International [17; 20], which is reflected in the relevant agreement on the commercial use of musical material. Remix as a music product is created using computer equipment or the Live Looping music platform due to the processing of the original by introducing various sound effects into the initial track. Interest in this principle of material processing arose in the 80s of the XXth century, when dance, club and DJ music entered into mass use [18]. As a remix, one can considers a single piece of music taken as the main component, which is complemented in sequence by the components of the DJ profile. It can be various samples, the changing of the speed of sounding, the tonality of the work, the “mutation” of the soloist’s voice, the saturation of the voice with effects to achieve a uniform musical ensemble. To the development of such a phenomenon as a “remix” the commercial activities of entertainment facilities (clubs, concert venues, etc.) contributes. The remix principle is connected with the renewal of the musical “hit”, whose popularity gradually decreased, and the rotation during the broadcast of the work did not gain a certain number of listeners. Conclusions. The musical art of the 21st century is full of new experimental and creative phenomena. The process of birth of modified forms of pop works deserves constant attention not only from the representatives of the industry of show business and audiovisual products, but also from scientists-musicologists. Such popular musical phenomena as “remix” and “remake” have a number of differences. So, a “remix” is a technical form of interpreting a piece of music with the help of computer processing of both instrumental parts and voices; it associated with the introduction of new, often very heterogeneous, elements, with tempo changes. A musical product created according to this principle is intended for listeners of “club music” and is not related to the studio work of the performer. The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version. The texture of the original composition, in the base, should be preserved, but it can be saturated with new sound elements, the vocal line and harmony can be partially changed according to interpreter’s own scheme. The introduction of the scientific definitions of these terms into a common base of musical concepts and the further in-depth study of all theoretical and practical components behind them will contribute to the correct orientation in terminology among the scientific workers of the artistic sphere and actorsvocalists.

Audio processing, including speech enhancement system, improves speech intelligibility and quality in real-time communication (RTC) such as online meetings and online education. However, such processing, primarily noise suppression and automatic gain control, is harmful to music quality when the captured signal is music instead of speech. A music detector can solve the issue above by switching off the speech processing when the music is detected. In RTC scenarios, the music detector should be low-complexity and cover various situations, including different types of music, background noises, and other acoustical environments. In this paper, a real-time music detection method with low-computation complexity is proposed, based on a convolutional neural network (CNN) using Mel-spectrogram and spectral flux as input features. The proposed method achieves overall 90.63% accuracy under different music types (classical music, instruments solos, singing-songs, etc.), speech languages (English and Mandarin), and noise types. The proposed method is constructed on a lightweight CNN model with a small feature size, which guarantees real-time processing.

The growth of the Pagan and Witchcraft revivalist movements (Neopaganism) is well documented in the Anglophone world. However, Witchcraft movements are also closely linked to a vibrant set of subcultures and a multitude of representations in popular culture. In this context investigating the relationship between Witchcraft as a religious community and its representation in consumer culture and mass media is extremely significant. This article examines the ambiguous relationship between witch and Wiccan communities and the vast array of merchandising, popular culture and media representations that surround them. In creating the WIKID WITCH KIT I hope to take you on a magickal and exciting journey! Through ritual, music, song and spoken word I will help you unleash your inner magick and discover the wonderful and positively empowering world of Witchcraft. As part of this journey you will discover your WIKID magickal name, giving you access to our exclusive website and online coven. There you can meet up with other WIKID Witches to swap spells, stories, and ideas. And every full moon I will personally join you for an online gathering——which will be truly WIKID. WIKID Witch Kit features WIKID Magick Fizz/WIKID Magick Potions/WIKID Magick Fire/WIKID Magick Star/WIKID Magick Cord/WIKID Magick Audio CD.1

Since 2007, Coke Studio has rapidly become one of the most influential platforms in televisual, digital and musical media, and has assumed a significant role in generating new narratives about Pakistani modernity. The musical pieces in Coke Studio’s videos re-work a range of genres and performing arts, encompassing popular and familiar songs, as well as resuscitating classical poetry and the musical traditions of marginalised communities. This re-working of the creative arts of South Asia represents an innovative approach to sound, language, and form, but also poses larger questions about how cultural memory and national narratives can be reimagined through musical media, and then further reworked by media consumers and digital audiences. This article considers how Coke Studio’s music videos have been both celebrated and criticised, and explores the online conversations that compared new covers to the originals, be they much loved or long forgotten. The ways in which the videos are viewed, shared, and dissected online sheds light on new modes of media consumption and self-reflection. Following specific examples, we examine the larger implications of the hybrid text–video–audio object in the digital age, and how the consumers of Coke Studio actively participate in developing new narratives about South Asian history and Pakistani modernity.

This master’s thesis deals with designs and implementation of systems for music cover recognition. The introduction part is devoted to the calculation parameters from audio signal using Music Information Retrieval techniques. Subsequently, various forms of cover versions and musical aspects that cover versions share are defined. The thesis also deals in detail with the creation and distribution of a database of cover versions. Furthermore, the work presents methods and techniques for comparing and processing the calculated parameters. Attention is then paid to the OTI method, CSM calculation and methods dealing with parameter selection. The next part of the thesis is devoted to the design of systems for recognizing cover versions. Then there are compared systems already designed for recognizing cover versions. Furthermore, the thesis describes machine learning techniques and evaluation methods for evaluating the classification with a special emphasis on artificial neural networks. The last part of the thesis deals with the implementation of two systems in MATLAB and Python. These systems are then tested on the created database of cover versions.

碩士
國立臺灣大學
電信工程學研究所
100
Identifying cover version of a song is easy and straightforward for human. However, it still can not perform accurately by a computer. Every music recording can be covered in various ways, such as live performance, rearrangement, and instrumental...etc. Consequently, there are various musical variations between different cover versions and original version. According to the second hand song website, ”Yesterday” performed by ”The Beatles” has 233 covered versions. In this thesis, I attempt to explore the effectiveness of various chroma feature for cover song identification, and propose a modelfree system based on beat-synchronous time-invariant chromagram and cross recurrence plot analysis. Using the online available covers80 dataset, the numbers of correctly identification covers is 62 over 80 songs. The evaluation result also reveals that the enhancement of chroma feature will lead to dramatic performance gains.