What remains after digitalization? Audio-visual documents are today at risk of deteriorating because of the fragilematerial they consist of, and although the process of transferring the information onto a digital format is oftenused to preserve the data they contain, the question of what becomes of the remaining analogue data carrier isnot raised in modern research.This thesis has examined how old and fragile sound recordings are kept and managed in an archive afterthey have been digitized. A case study was used to investigate how an archival institution view the remainingdata carriers and what becomes of them today when the information they carry is available on another format.The fragility of the recording was of importance for the study, because it means that it is not possible to play iton an analogue play back device without damaging it, and its status as an archival document can be questioned.The archive which this thesis investigated consisted of the Institute for Languages and Folklore in Uppsala,Sweden, which houses a great deal of old and fragile sound recordings which were collected on a phonograph asearly as 1896. This makes these recordings the oldest ones in Sweden that has been collected for recordkeepingpurposes. By examining the role, function and value of the recordings, this study investigated whether they holdan importance for the archive as historical objects, or as functional documents. The study consisted of a triangulationmethod, where interviews, a document analysis as well as an object biography method were combined tocompare and analyze the empirical findings in conjunction with each other. The results indicated that althoughsome documental properties still existed, the old sound recordings kept in the archive were mostly seen as historicalobjects. However, a theoretical analysis indicated that the recordings could be seen as a hybrid of both documentand artefact. This is a two years master’s thesis in Archival Science.

György Kurtágs Kafka-Fragmente für Sopran und Violine op. 24 (1985–87) zeichnen sich durch 40 individuelle musikalische Fragmente aus, die in einer komplexen vierteiligen Anlage angeordnet sind (19–1–12–18 Stücke). Eine eingehende quantitative und qualitative Analyse von acht Gesamteinspielungen der Kafka-Fragmente aus dem Zeitraum von 1990 bis 2017 bietet eine aussichtsreiche Fallstudie, um Strategien ausführender Musiker*innen in Hinblick auf Aspekte der Formgestaltung zu untersuchen und zu kategorisieren. Ausgehend von einer aufführungsbezogenen Formanalyse ist dieser Beitrag von der Annahme geleitet, dass unterschiedliche Aufführungskonzepte in Bezug auf die musikalische Großform sowohl die Wahrnehmung als auch die (musiktheoretische) Analyse dieser Form prägen können. / György Kurtág’s Kafka-Fragmente for soprano and violin op. 24 (1985–87) feature 40 individual musical fragments arranged in a complex quadripartite order (19–1–12–8 pieces). A thorough quantitative and qualitative analysis of eight complete recordings of the Kafka-Fragmente dating from 1990 to 2017 offers a promising opportunity to study and categorise performers’ strategies in regard to the articulation of form. Starting out from a performance-related formal analysis, this article is guided by the hypothesis that varying performative concepts with respect to the large-scale musical form can shape both its perception and (music-theoretical) analysis.

West, Matthew Ellis. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 250-260). / Abstracts in English and Chinese. / Abstract (in English and Chinese) --- p.ii / Acknowledgments --- p.iv / Table of Contents --- p.vi / Chapter Chapter 1: --- Introduction ´ؤ China and Intellectual Property --- p.1 / Introduction / What is Intellectual Property? / Chenggong Music and Movies / Lost in Translation / Piracy / Copying / An Historical Perspective / "The Past, Sharing, and Censorship" / Methodology and Xi'an's Disc Market / Chapter Breakdown / Chapter Chapter 2: --- Literature Review 一 An Anthropological Approach to IP --- p.37 / The Anthropology of Property / Human Rights Discourses / Economic Pragmatism? / The Return of Power / Toward a Theory of IP / Metaphorical Framing / Stages of IP Advocacy / Local Contextualization / China: Global Pressure and Local Response / Chapter Chapter 3: --- Daoban as a Moral Business --- p.60 / The Commoditization of IP / Price is all that Matters! / Pricing Practices within Stores / Pricing Determinants / Moving Beyond Price and Quality / Consumer Fraud and Fakes: The Breakdown of Price and Quality / Competition and the Disc Business / Is it Zhengban or Daoban? / Doubting the Difference / Relative Morality: Guilt and Stealing / The Ambivalent Position of Chinese Retail Business / Conclusion: Passive Contestation and the Moral Sphere / Chapter Chapter 4: --- Daoban as an Illegal Commodity --- p.104 / Petty Economic Crime / "Cheating, Plagiarism, and Painting" / Petty Economic Illegality / Illegality in China's Context: The Government Connection / Backing (beijing) / Corruption / Structural Issues: Officials and Enforcement / Policing Norms / Norms of Copyright Enforcement / Social Consequences of Enforcement / Action Against Vendors / Action Against Pornography / Justifications and Responses / Conclusion: Daoban and Illegality / Chapter Chapter 5: --- Daoban and Intangible Property --- p.155 / What is Daoban? / Dowloading and the Law / Exceptions: Imported and Destroyed Titles / Blurring the Line: Tom and Jerry / Real or Fake / The Symbolic Importance of Zhengban / A Wider View? New Generations and Smalltime Creators / Conceptions of Intangible Property / The Centrality of Performance / The Nation / Conclusion: A Chinese Conception? / Chapter Chapter 6: --- "Conclusion ´ؤ Cultural Conceptions, Structures, and Agency" --- p.207 / "Structures, Agency, and Daoban" / Practice Theory: Structure and Agency / An Actor-Oriented Approach / Structures and Daoban / Creation / Commoditization / Passive Contestation / The Law as a Tool for Change / Final Thoughts / Bibliography --- p.238 / Appendix I: Chinese Characters Index --- p.248

This study examined promoting recorded country music from Atlanta, Georgia, and explored why Atlanta is important in this field. It was learned, through interviews, that promoters wanted radio airplay and top trade publication chart ratings. Radio station program directors decided upon playlists from reading trade publications, efforts by record promoters, listener requests and focus groups, and from reported sales. Stores used album and poster displays, charts, and played music for promotion. The business is one of personalities and experience, as much as product promoted. Large conglomerates are fast changing it.

In spreads pectrum (SS)watermarking of audio signals, since the watermark acts as an additive noise to the host audio signal, the most important challenge is to maintain perceptual transparency. Human perception is a very sensitive apparatus, yet can be exploited to hide some information, reliably. SS watermark embedding has been proposed, in which psycho-acoustically shaped pseudo-random sequences are embedded directly into the time domain audio signal. However, these watermarking schemes use informed detection, in which the original signal is assumed available to the watermark detector. Blind detection of psycho-acoustically shaped SS watermarking is not well addressed in the literature. The problem is still interesting, because, blind detection is more practical for audio signals and, psycho-acoustically shaped watermarks embedding offers the maximum possible watermark energy under requirements of perceptual transparency. In this thesis we study the blind detection of psycho-acoustically shaped SS watermarks in time domain audio signals. We focus on a class of watermark sequences known as random phase watermarks, where the watermark magnitude spectrum is defined by the perceptual criteria and the randomness of the sequence lies in their phase spectrum. Blind watermark detectors, which do not have access to the original host signal, may seem handicapped, because an approximate watermark has to be re-derived from the watermarked signal. Since the comparison of blind detection with fully informed detection is unfair, a hypothetical detection scheme, denoted as semi-blind detection, is used as a reference benchmark. In semi-blind detection, the host signal as such is not available for detection, but it is assumed that sufficient information is available for deriving the exact watermark, which could be embedded in the given signal. Some reduction in performance is anticipated in blind detection over the semi-blind detection. Our experiments revealed that the statistical performance of the blind detector is better than that of the semi-blind detector. We analyze the watermark-to-host correlation (WHC) of random phase watermarks, and the results indicate that WHC is higher when a legitimate watermark is present in the audio signal, which leads to better detection performance. Based on these findings, we attempt to harness this increased correlation in order to further improve the performance. The analysis shows that uniformly distributed phase difference (between the host signal and the watermark) provides maximum advantage. This property is verified through experimentation over a variety of audio signals. In the second part, the correlated nature of audio signals is identified as a potential threat to reliable blind watermark detection, and audio pre-whitening methods are suggested as a possible remedy. A direct deterministic whitening (DDW) scheme is derived, from the frequency domain analysis of the time domain correlation process. Our experimental studies reveal that, the Savitzky-Golay Whitening (SGW), which is otherwise inferior to DDW technique, performs better when the audio signal is predominantly low pass. The novelty of this work lies in exploiting the complementary nature of the two whitening techniques and combining them to obtain a hybrid whitening (HbW) scheme. In the hybrid scheme the DDW and SGW techniques are selectively applied, based on short time spectral characteristics of the audio signal. The hybrid scheme extends the reliability of watermark detection to a wider range of audio signals. We also discuss enhancements to the HbW technique for robustness to temporal offsets and filtering. Robustness of SS watermark blind detection, with hybrid whitening, is determined through a set of experiments and the results are presented. It is seen that the watermarking scheme is robust to common signal processing operations such as additive noise, filtering, lossy compression, etc.

MAAS / Department of Music

MAAS / Department of of Music

It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works. In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive. I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.

A study is done on the protection of sound recordings in the decentralized peer-to-peer (DP2P) file sharing in the United States, the United Kingdom and South Africa. This study reveals that because sound recordings have unique features different from other copyright works, the illegal sharing of sound recordings can ordinarily be filtered, identified, and detected by the Internet service providers (ISPs) before granting access to users and without infringing the users‟ right to privacy. However, the ISPs have failed in this regard, hence, they are strictly held liable under the contributory, vicarious and inducing infringements notwithstanding the statutory law which prohibits ISPs from monitoring, and intercepting their networks. In fact and law, the terms filtering, identifying and detecting on the one hand and monitoring and intercepting on the other hand are different in relation to sound recordings and as such ISPs are not prohibited from filtering, identifying and detecting illegal sound recordings on their networks, thus, ISPs are not protected under the limitation law as it is generally believed. However, several recommendations are made for reform, inter alia: a review of the limitation law to include the terms filtering, identifying and detecting in pursuance of the terms monitoring, and intercepting, if the intention of the legislators was meant to include the latter terms; protection of access right in digital sound recordings, protection of the neighbouring rights of ISPs in the digital world, imposing levies on all recording equipment, the insurability of sound recordings and ISPs‟ signals, and bandwidth. / Mercentile Law / LL. M. (Mercantile Law)

A study is done on the protection of sound recordings in the decentralized peer-to-peer (DP2P) file sharing in the United States, the United Kingdom and South Africa. This study reveals that because sound recordings have unique features different from other copyright works, the illegal sharing of sound recordings can ordinarily be filtered, identified, and detected by the Internet service providers (ISPs) before granting access to users and without infringing the users‟ right to privacy. However, the ISPs have failed in this regard, hence, they are strictly held liable under the contributory, vicarious and inducing infringements notwithstanding the statutory law which prohibits ISPs from monitoring, and intercepting their networks. In fact and law, the terms filtering, identifying and detecting on the one hand and monitoring and intercepting on the other hand are different in relation to sound recordings and as such ISPs are not prohibited from filtering, identifying and detecting illegal sound recordings on their networks, thus, ISPs are not protected under the limitation law as it is generally believed. However, several recommendations are made for reform, inter alia: a review of the limitation law to include the terms filtering, identifying and detecting in pursuance of the terms monitoring, and intercepting, if the intention of the legislators was meant to include the latter terms; protection of access right in digital sound recordings, protection of the neighbouring rights of ISPs in the digital world, imposing levies on all recording equipment, the insurability of sound recordings and ISPs‟ signals, and bandwidth. / Mercentile Law / LL. M. (Mercantile Law)