Thesis (M.A.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (Ed.D.)--Teachers College, Columbia University, 1970. / Typescript; issued also on microfilm. Sponsor: Gladys Tipton. Dissertation Committee: Charles W. Walton. Includes bibliographical references (leaves 219-227).

The Napster case has created a frenzy of controversy and confusion. The Peer to Peer technology developed by Napster creator Shawn Fanning, has forced the courts, the legislature, corporations, and individuals to reconsider the use of the Internet. Peer to peer networks create new challenges for the application of copyright law. However, these challenges are not that different from those which copyright law has evolved to accommodate in the past. Copyright law is intended to balance the interests of the creators and the public to promote the progress of science and useful arts. The premise behind copyright protection is to ensure that people continue creating, and that the public continues to enjoy those creations, through the mechanism of rewarding the creators with a temporary monopoly over their works. This balance of interests is fundamental to the interpretation of copyright law by the United States Congress and the Courts. This thesis focuses on the application and interpretation of copyright law through a case study of the law in the United States, in particular the Napster case. Although it now appears that the Internet can be subject to some form of regulation with the aid of technological innovation to enforce the regulation, the Courts in the Napster case have misinterpreted the previous judicial consideration attributed to copyright law. In essence, the fundamental principle of the balancing of interests has been lost. We are now left with an unequal balance in favor of large media conglomerates. It can be argued that the media conglomerates have used Napster as an example of their power to control the technology of peer to peer networking as a model of distribution. Napster demonstrates that peer to peer is an effective way of sharing information with an extremely large amount of people. This has the music industry scared, resulting in their legal battle to shut down the Napster technology. The claims of copyright misuse raise awareness of the need for regulation and a reassessment of copyright application in a digital age. There is a need for regulation. However, any attempts at further application of law and regulation to the Internet concerning copyright protection should consider the intent of the constitutional founders of the United States -- copyright law is intended to protect the interests of both the artists, and the public. / Law, Peter A. Allard School of / Graduate

Multimodal understanding is a vast realm of research that covers multiple disciplines. Hence, it requires a correct understanding of the goal in a generic multimodal understanding research study. The definition of modalities of interest is important since each modality requires its own considerations. On the other hand, it is important to understand whether these modalities should be complimentary to each other or have significant overlap in terms of the information they carry. For example, most of the modalities in biological signals do not have significant overlap with each other, yet they can be used together to improve the range and accuracy of diagnoses. An extreme example of two modalities that have significant overlap is an instructional video and its corresponding instructions in detailed texts. In this study, we focus on multimedia, which includes image, video, audio, and text about real world everyday events, mostly focused on human activities. We narrow our study to the important direction of common space learning since we want to bridge between different modalities using the overlap that a given pair of modalities have.There are multiple applications which require a strong common space to be able to perform desirably. We choose image-text grounding, video-audio autoencoding, video-conditioned text generation, and video-audio-text common space learning for semantic encoding. We examine multiple ideas in each direction and achieve important conclusions. In image-text grounding, we learn that different levels of semantic representations are helpful to achieve a thorough common space that is representative of two modalities. In video-audio autoencoding, we observe that reconstruction objectives can help with a representative common space. Moreover, there is an inherent problem when dealing with multiple modalities at the same time, and that is different levels of granularity. For example, the sampling rate and granularity of video is much higher and more complicated compared to audio. Hence, it might be more helpful to find a more semantically abstracted common space which does not carry redundant details, especially considering the temporal aspect of video and audio modalities. In video-conditioned text generation, we examine the possibility of encoding a video sequence using a Transformer (and later decoding the captions using a Transformer decoder). We further explore the possibility of learning latent states for storing real-world concepts without supervision. Using the observations from these three directions, we propose a unified pipeline based on the Transformer architecture to examine whether it is possible to train a (true) unified pipeline on raw multimodal data without supervision in an end-to-end fashion. This pipeline eliminates ad-hoc feature extraction methods and is independent of any previously trained network, making it simpler and easier to use. Furthermore, since it only utilizes one architecture, which enables us to move towards even more simplicity. Hence, we take an ambitious step forward and further unify this pipeline by sharing only one backbone among four major modalities: image, video, audio, and text. We show that it is not only possible to achieve this goal, but we further show the inherent benefits of such pipeline. We propose a new research direction under multimodal understanding and that is Unified Multimodal Understanding. This study is the first that examines this idea and further pushes its limit by scaling up to multiple tasks, modalities, and datasets. In a nutshell, we examine different possibilities for bridging between a pair of modalities in different applications and observe several limitations and propose solutions for them. Using these observations, we provide a unified and strong pipeline for learning a common space which could be used for many applications. We show that our approaches perform desirably and significantly outperform state-of-the-art in different downstream tasks. We set a new baseline with competitive performance for our proposed research direction, Unified Multimodal Understanding.

Yeung Hoi Calvin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 52-53). / Abstracts in English and Chinese, appendix in Chinese.

The pilot study used in this thesis examined the attitudes and perceptions of a small group of students at the University of North Texas. The participants in this pilot study (n=22) were administered an online music file sharing survey, a Defining Issues Test (DIT), and participated in a small focus group. This thesis also outlined the history and progression of online music piracy in the United States, and addressed four research questions which aimed to determine why individuals choose to engage in the file sharing of copyrighted music online.

Thesis (LLD) -- Stellenbosch University, 1988. / Article 1 Section 8 Clause 8 of the Constitution of the United States of America empowers Congress "to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries". This simple clause sums up in a few words the philosophy and underlying principles of modern copyright law. Copyright law, like other branches of intellectual property law (i.e. the laws of patents, trade marks and designs), seeks to create a system whereby the creator of original works or intellectual property is afforded a qualified monopoly in the use or exploitation of his work in order, first, to compensate and reward him for the effort, creativity and talent expended and utilized in the creation of his work, and secondly, to act as an incentive for him to use his talents and efforts to create more and better works or items of intellectual property. The qualified monopoly is limited in duration and after the expiry of the term the work falls into the public domain and can be freely used and reproduced by others. A balance is struck between the interests of the individual and the public interest. The rationale behind this philosophy is the establishment of a profit incentive for creators of intellectual property. The effectiveness of the profit motive is dependent upon the degree to which the creator of the intellectual property is able to maintain and enforce his qualified monopoly. If the law is not effective in enabling the creator of intellectual property to maintain and enforce his monopoly then the efficiency of the operation of the profit motive will be impaired. Consequently, the soundness and effectiveness of the law of copyright is a . significant factor in the promotion of the creation of intellectual property and ultimately• in enriching our culture and promoting our knowledge and well-being. Viewed from a different perspective, the purpose of copyright is to prevent one man from appropriating to himself what has been produced by the skill and labour of others1 . In broad terms, copyright may be described as the exclusive right in relation to a work embodying intellectual property (i.e. the product of the intellect) to do or to authorize others to do certain acts in relation to that work, which acts represent in the case of each type of work the manners in which that work can be exploited for personal gain or profit. Copyright is an immaterial property right. The subject of the right is a work of the intellect or spirit and thus an intangible. Copyright in a work is akin to ownership in a tangible article. The following analysis of the essential nature of copyright by Slomowitz AJ in Video Parktown North (Pty) Limited v Paramount Pictures Corporation is instructive: "It seems to me that when he who harbours an idea, by dint of his imagination, skill or labour, or some or all of them, brings it into being in tactile, visible or audible form, capable thereby of being communicated to others as a meaningful conception or apprehension of his mind, a right of property in that idea immediatelycomes into existence. The proprietary interest in that object of knowledge is the ownership of it and is called 'copyright'. It might just as well be called 'ownership', but we have chosen to call it by another name, reserving 'ownership' as the appellation for the proprietary interest in corporeal things, by way of semantic, but not, as I see it, legal, distinction. In this sense, copyright has sometimes been called 'intellectual property', as it indeed is. " Copyright subsists in the work of the intellect embodied in a material form which is a tangible article. The tangible or physical form of the work embodies two separate items of property, i.e. the copyright in the work of the intellect and the ownership of the tangible article. Ownership of the two items of property must be distinguished and can vest in different persons. Transfer of the ownership of one of the i terns of property does not necessarily affect transfer of the ownership of the other item of property.

Claude Debussy's Prelude a l’apres-midi d’un faune [Prelude to the Afternoon of a Faun] opens with an unaccompanied flute solo that famously tests breath control, tone production, and capacity for musical expression. All aspiring flutists must master this solo, because it is frequently requested on orchestral and collegiate auditions. To aid flutists in their preparation, many notable pedagogues and performers have provided written and verbal commentary with suggestions for crafting a successful performance; however, it is unclear whether or not actual performances reflect these teachings. In other words, do the pedagogues practice what they preach? This study uses audio analysis to objectively analyze quantifiable aspects of ninety years of recordings of Prelude a l’apres-midi d’un faune and compares the results to current pedagogy. This study’s findings fall into four categories: (1) breath placement, (2) tempo and rubato, (3) vibrato, and (4) general expression. Because of the influence and historical significance of American flutist William Kincaid, a giant of twentieth-century performance and pedagogy, special consideration is given to specific recordings and teaching of Kincaid. The analysis that follows demonstrates disparity between performance practice and pedagogy and will allow flute students and teachers to make better-informed decisions interpreting Prelude a l’apres-midi d’un faune.

Thesis (MScEng)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: Two non-destructive methods of extracting audio from Edison phonographic cylinders were investigated. A recording device with high accuracy positioning was designed and manufactured. A microscopic image method was investigated first. Surface images of the cylinder were obtained using a webcamera. An audio signal was then extracted from the width modulation. Results were not pleasing as echoes caused by intergroove modulation were perceptable. The audio also lacked resolution. The true modulation of the audio is not embedded in the width, but in the depth of the groove. The second audio extraction method involved using a laser pick-up from a compact disc player to measure the depth of the groove. Three laser recording methods were investigated. The first was forward recording, that measured the depth modulation in the recording direction of the groove. The second method, backward recording, was identical to forward recording with the mechanical system moving in reverse. Four recordings from different positions in the groove were combined to create an audio signal. This combination of recordings showed a substantial improvement in the signal-to-noise ratio. A third recording method, transverse recording, that measured the whole depth profile of the groove was also investigated. The groove profile was then processed to an audio signal. A manual audio restoration program was written to replace visible sections of distorted data with better interpolations. Two speech enhancement methods were investigated, the first being the most commonly used speech enhancement method for digital audio restoration, Short-Time Spectral Attenuation (STSA). The second method is based on linear predictive coefficient (LPC) estimation of short-time frames. The two methods were evaluated by means of listening tests. The LPC enhancement method was preferred because it enhanced the intelligibility of the speech. / AFRIKAANSE OPSOMMING: Twee nie-destruktiewe metodes om klank van Edison-fonograafsilinders te onttrek, is ondersoek. 'n Opneemtoestel, wat die silinders met baie hoë akkuraatheid posisioneer, IS ontwerp en vervaardig. 'n Mikroskopiese beeldrnetode IS as eerste klankonttrekkingsmetode ondersoek. Mikroskopiese beelde is met 'n webkamera van die silinderoppervlak geneem. Klank is vanuit die wydtemodulasie sigbaar in die beelde onttrek. Resultate was nie bevredigend nie weens groefintermodulasie-eggo's en 'n tekort aan resolusie. Die ware modulasie van die klank is nie in die wydte van die groefie gegraveer nie, maar in die diepte. Die tweede klankonttrekkingsmetode gebruik 'n aangepaste lasersensor van 'n CD-speler om die dieptemodulasie van die groefie te meet. Drie laseropneemmetodes is ondersoek. Die eerste is voorwaartse opname, wat die dieptemodulasie in die opneemrigting van die groefie meet. 'n Tweede opneemmetode, truwaartse opname, is identies aan voorwaartse opname, behalwe dat die meganiese stelsel in trurat beweeg. Vier opnames vanuit verskillende posisies in die groefbreedte is gekombineer om 'n klanksein te vorm. Die kombinasie van vier opnames toon 'n beduidende verbetering op die sein-tot-ruis-verhouding. Dit het aanleiding gegee tot die derde opneemmetode, dwarsskandering, wat die hele profiel van die groef meet. Die groefprofiel word dan verwerk tot 'n klanksein. 'n Handoudiorestourasieprogram is geskryf om sigbare verwringing in die klanksein met beter interpolasies te vervang. Twee spraakverheffingsmetodes is ondersoek. Short- Time Spectral Attenuation (STSA) is die mees gebruikte metode vir oudiorestourasie. 'n Tweede spraakverheffingsmetode wat van 'n lineêre voorspellingskoëffisiëntafskatting (LPC-afskatting) van korttydraampies gebruik maak, is ook toegepas. Die twee metodes is deur luistertoetse teen mekaar opgeweeg. Die LPCmetode is verkies aangesien dit die verstaanbaarheid van die spraak beter behoue laat bly.

Music in general and recorded music in particular are rarely a priority for libraries’ digitization policies, although wax cylinders and 78rpm discs might be digitized for preservation and accessibility reasons. The respect of the original recording technique during the digitization process will ensure the scientific and artistic credibility of the digitized sources. The Royal Library of Belgium started in 2016 the digitization of its whole collection of 78rpm. Realized by subcontracting, this project of about 4,000 hours will constitute a large corpus of sources for the digital musicology upcoming needs. / Musikalien im Allgemeinen und Tonträger im Besonderen erhalten in bibliothekarischen Digitalisierungsstrategien häufig nur wenig Beachtung, obwohl gerade für Wachszylinder und Schellackplatten sowohl aus Gründen der Bestandserhaltung als auch zur Verbesserung der Zugänglichkeit ihre Digitalisierung dringend geboten wäre. Um bei der Retrodigitalisierung von historischen Tonaufnahmen künstlerisch und wissenschaftlich zuverlässige Ergebnisse zu erreichen, ist den originalen Aufnahmetechniken große Aufmerksamkeit zu schenken. Die Königliche Bibliothek Belgiens lässt seit 2016 ihre vollständige Sammlung an Schellackplatten digitalisieren. Mithilfe eines Dienstleisters werden ca. 4 000 Stunden Tonaufnahmen produziert, die für aufkommende Forschungsfragen der digitalen Musikwissenschaft einen gewichtigen Quellenkorpus darstellen.