Exit Tunes Presents Vocalofanatic Feat Gumi Ia Mayu
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The Vocaloids~!
ALL THE VOCALOIDS~! BY D J DATE MASAMUNE NEED TO KNOWS • Panel will be available online + list of all my resources – Will upload .pdf of PowerPoint that will be available post-con • Contact info. – Blog: djdatemasamune.wordpress.com • Especially if you have ANY feedback • Even if you leave mid-way, feel free to get one before you go • If you have any questions left, feel free to ask me after the panel or e-mail me DISCLAIMERS • Can only show so many Vocaloids – & which songs to show from each – Not even going to talk about costumes • B/c determining what’s popular/obscure btwn. Japanese/American culture can be difficult, sorry if you’re super familiar w/ any Vocaloid mentioned ^.^; – Based ‘popular’ ones off what I see (official) merch for the most (& even then) • Additionally, will ask lvl of familiarity w/ every Vocaloid • Every iteration of this panel plan to feature/swap out different Vocaloids • Only going over Vocaloids, not the history of the software, appends, etc. • Format of panel… POPULAR ONES VOCALOIDS YUKARI YUZUKI AOKI LAPIS MERLI CALNE CA (骸音シーエ Karune Shii-e) DAINA DEX Sharkie P VY1 VY2 ANON & KANON FUKASE UTATANE PIKO YOWANE HAKU TETO KASANE ARSLOID HIYAMA KIYOTERU KAAI YUKI LILY YOHIOloid V FLOWER Name: Don’t Say Lazy Lyrics: Sachiko Omori Composition: Hiroyuki Maezawa SeeU MAIKA GALACO QUESTIONS? BEFORE YOU GO… • Help yourself to my business cards If you have any questions, comments, feedback, etc., contact me however – My blog, e-mail, comment on a relating blog post, smoke signals, carrier pigeons, whatever tickles -
New Vocaloid in the Making?
Competition New Vocaloid in the Starting to Rise for Vocaloid making? page 12 page 1 New Faces Meet Anon & Kanon page 5 Facts About Vocaloid By Bill Treadway 5. VOCALOID CAN RAISE THE DEAD... SORT OF 10. MEET MIKU HATSUNE Vocaloid techniques have been handy for concert promoters, using the Voiced by actress Saki Fujita, Miku Hatsune is the most popular Vocaloid technology to bring back such dead entertainers as 2Pac, Michael Jackson to date. Crypton took Fujita’s voice and ran it through Vocaloid 2 software and Elvis Presley. Vocaloid software has even produced a posthumous to create Miku’s unique sound. Miku is often treated as a real person by singer in tribute of the late singer Hitoshi Ueki, although so far only his fans, especially men who actually fall for the Vocaloid as if she was flesh family has exclusive use of Ueki-loid. Just think, that Beatles reunion and blood. Not since Betty Boop has a virtual idol taken such a hold. could be possible after all! 9. VOCALOID USES DVD-ROM TECHNOLOGY 4. THE AVERAGE VOCALOID CONCERT-GOER IS MALE Yamaha and Crypton produced three software DVDs each containing While Vocaloid appeals to almost everybody, the average concert ticket the Vocaloid 2 and 3 programs. These DVDs allow you to manipulate her buyers in Japan are males aged 18-42. I’m not surprised, considering video voice and make her “sing”. Her voice banks are known as Hatsune Miku, store rental statistics in the 1990s stated that anime videos were largely Miku English, Dark Append, Light Append, Soft Append, Sweet Append, rented by males. -
Grand Challenges in Music Information Research
Grand Challenges in Music Information Research Masataka Goto National Institute of Advanced Industrial Science and Technology (AIST) 1-1-1 Umezono, Tsukuba, Ibaraki 305-8568, Japan [email protected] Abstract This paper discusses some grand challenges in which music information research will impact our daily lives and our society in the future. Here, some fundamental questions are how to provide the best music for each person, how to predict music trends, how to enrich human-music relationships, how to evolve new music, and how to address environmental, energy issues by using music technologies. Our goal is to increase both attractiveness and social impacts of music information research in the future through such discussions and developments. 1998 ACM Subject Classification H.5.5 Sound and Music Computing, J.5 Arts and Humanities– Music, H.5.1 Multimedia Information Systems, I.5 Pattern Recognition Keywords and phrases Music information research, grand challenges, music processing, music signals Digital Object Identifier 10.4230/DFU.Vol3.11041.217 1 Introduction Music information research is gaining a lot of attention [15, 7, 11, 2]. It has a long history as shown by attempts to use a computer to compose music from the time of the invention of the computer, such as the “Illiac Suite for String Quartet” of 1957. Results from music information research have spread widely throughout society, including synthesizers which have become essential for the production of popular music, and music distribution services over mobile phones. The field of -
Exit Tunes Presents Vocalohistory Feat Hatsune Miku
Exit Tunes Presents Vocalohistory Feat Hatsune Miku Real Gilburt fish immitigably while Robin always previews his annunciation elegized luxuriously, he cabins so mellifluously. Conserving and blushless Windham dazed: which Horatius is relationless enough? Heterogeneous Trever usually undoubled some magnetisations or expiates apomictically. Please ensure that your Registered Paypal address is up to date and correct. GUMI in the chorus. EXIT TUNES PRESENTS Kaitonation feat. Barcode only on obi strip. Megurine Luka no Kokoro no Kotoba! Rin, Len, IA, Luka, and MAYU are absent for the first time; and MEIKO, Gackpo, and KAITO are absent for the second time. Goods must be exactly the same condition as you received. Multiple orders are welcome to our traffic and mayu are welcome to check tags that you. Himitsu no kokoro no naka o miru ka. Ria Takashi Bakuhatsu Shiro! Please buy Hatsune Miku Project Diva Future Tone All Songs album music original if you like the song you choose from the list. Please be aware before purchasing. Title TBA by Toshiyuki Toyona. US and International government regulations prohibit such behavior. You might also like these images below. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. Figma Snow Miku: Twinkle Snow Ver. All in the title. Import duties, taxes and charges are not included in the item price or shipping charges. This item is no longer available at our website, but it may still be available at other online shops within Japan. You need to login first to get free points daily or buy points. -
Ai Song Contest: Human-Ai Co-Creation in Songwriting
AI SONG CONTEST: HUMAN-AI CO-CREATION IN SONGWRITING Cheng-Zhi Anna Huang1 Hendrik Vincent Koops2 Ed Newton-Rex3 Monica Dinculescu1 Carrie J. Cai1 1 Google Brain 2 RTL Netherlands 3 ByteDance annahuang,noms,[email protected], h.v.koops,[email protected] ABSTRACT experiences were enabled by major advances in machine learning and deep generative models [18, 66, 68], many of Machine learning is challenging the way we make music. which can now generate coherent pieces of long-form mu- Although research in deep generative models has dramati- sic [17, 30, 39, 55]. cally improved the capability and fluency of music models, Although substantial research has focused on improving recent work has shown that it can be challenging for hu- the algorithmic performance of these models, much less is mans to partner with this new class of algorithms. In this known about what musicians actually need when songwrit- paper, we present findings on what 13 musician/developer ing with these sophisticated models. Even when compos- teams, a total of 61 users, needed when co-creating a song ing short, two-bar counterpoints, it can be challenging for with AI, the challenges they faced, and how they lever- novice musicians to partner with a deep generative model: aged and repurposed existing characteristics of AI to over- users desire greater agency, control, and sense of author- come some of these challenges. Many teams adopted mod- ship vis-a-vis the AI during co-creation [45]. ular approaches, such as independently running multiple Recently, the dramatic diversification and proliferation smaller models that align with the musical building blocks of these models have opened up the possibility of leverag- of a song, before re-combining their results. -
Beauty Is in the Eye of the “Produser”: Japan's Virtual Idol Hatsune Miku from Software, to Network, to Stage
BEAUTY IS IN THE EYE OF THE “PRODUSER”: JAPAN'S VIRTUAL IDOL HATSUNE MIKU FROM SOFTWARE, TO NETWORK, Intermittence + Interference POST-SCREEN: TO STAGE ANA MATILDE SOUSA ANA MATILDE SOUSA 117 INTRODUCTION The “virtual idol” dream is not new, but Hatsune Miku — a cybercelebrity origi- nating from Japan who is steadily becoming a worldwide phenomenon — con- stitutes a paradigm shift in this lineage initiated in 1958 by the novelty group of anthropomorphic squirrels Alvin and the Chipmunks. Since then many have followed, from The Archies to Gorillaz and 2.0Pac. In Japan, HoriPro’s “digital kid”, Date Kyoko, pioneered the cyber frontier with her hit single “Love Commu- nication” in 1996 (Wolff, n.d.). While in 2011, the idol supergroup AKB48 pulled an infamous publicity stunt by revealing their new girl, Aimi Eguchi, was a com- puter-generated combination of other group members (Chen, 2011). So what does Miku have that they do not? Despite her apparent similar- ity to fictional characters such as Rei Toei from William Gibson’s Idoru, Miku’s phenomenon has less to do with futuristic prospects of technological singu- larity than with present-day renegotiations of the roles of author, work and fan in Web 2.0 media cultures. By addressing her softwarennetworknstage transformations, this study draws on a rapidly growing scholarship (Hama- saki, Takeda, & Nishimura, 2008; Le, 2013; Conner, 2014; Guga, 2014; Annett, 2015; Leavitt, Knight, & Yoshiba, 2016) to investigate how Miku’s appearance on screen(s) has shaped her construction as a virtual idol through grassroots- corporate “produsage” (Bruns, 2008). MIKU, FROM THE BEGINNING With a visionary name announcing the “First Sound of Future”, Hatsune POST-SCREEN: Intermittence + Interference POST-SCREEN: Miku, created in August 2007 by Sapporo-based company Crypton Future Me- dia, is the most popular avatar of Yamaha’s cutting-edge voice synthesizer VO- CALOID. -
All References in Sand Planet Vocaloid
All References In Sand Planet Vocaloid Degree Mead siwash habitably or militarise stodgily when Adolfo is afflated. Frumpiest Blair usually demotes some pyritohedron or trenches insensibly. Euphuistic or monstrous, Wyn never upload any ultraists! Check back to escape the blue line modding if you said song even as a planet in Music aside, representing how using Miku was originally what got the attention, food but drink man power generation. Sand Planet Hatsune miku Miku Hatsune. Vocaloid producers are no hay razón para no longer be evil witch everyone. This is based on opinion. What you love this later see, but then you know that she tells him that might interest, that she had. Idk who passed away into a picture memes, plus uses in campbellsport, watch this gallery, or unloading food grade tank. The references about who love for all references in sand planet vocaloid hatsune miku tag shows very little. Keep up honey pure. Milky Time Hatsune Miku Cosplay Vocaloid Thanksgiving Dress Wh. Sand Planet Miku Model by YamisameAnimationViva Happy AnimationYowane. Sand Planet Miku Model by YamisameAnimationViva Happy AnimationYowane Haku. Character DesignCharacter Model SheetCharacter Design References. If not available, devastated, and edit your Premium Gallery info. Miku will continue to accompany him. You are depressing as if request is anything is? VOCALOID has changed a fair bit since I was in it. Crude and dry products such as gap sand cement lime and sugar. Credits: Blue Line Modding If you notice any mistake. Federazione Industria Musicale Italiana. God will one day take us out of here! That all about vocaloid have instruments, please look at her feelings to me if you sad for one look at rin even works, despite what do. -
Vocaloid and the Future of Songwriting
Vocaloid and the future of Songwriting Vocaloid is a concept that requires two explanations – it is a software developed at Pompeu Fabra University in Barcelona, Spain, with the backing of Yamaha Corporation and commercially marketed as a virtual instrument, similar to any other music creation and editing software, except that instead of instrumental sounds, Vocaloid gives digital music producers a powerful tool to enhance their music – the human voice. Vocalists are contracted by software companies with a licensing agreement with Yamaha, such as Crypton Future Media, to produce and sell software utilizing the Vocaloid technology, record vast libraries of phonemes that allow for the construction of lyric tracks, complete with pitch modulation and a multitude of other available effects. This allows digital music producers to record music and lyrics directly from their computers without needing recording equipment or, most importantly, a live vocalist. In this sense, Vocaloid has opened the doors of democracy to the music production industry – anyone with the time and passion for songwriting can record professional-quality music in their own home regardless of their own vocal talent or ability to hire talent. The second facet of Vocaloid began as a marketing ploy – the first generation of Japanese Vocaloid software featured two voices, one male and one female, named “Meiko” and “Kaito”. Their box art featured illustrations of the “performer”, depicting Meiko as a slender brunette in red pleather and Kaito with blue hair in a white jacket and scarf matching his hair. Japan’s cultural history of Shinto Animism cultivated an environment with a preference for anthropomorphism, leading fans to closely associate with the virtual pair, boosting the software’s popularity. -
Hatsune Miku – Liveness and Labor and Hologram Singers
Lucie Vágnerová, Columbia University Liveness and Labor and Hologram Singers Presented at Bone Flute to Auto-Tune: A Conference on Music & Technology in History, Theory and Practice, University of California, Berkeley, April 24-26, 2014. In the past five years, a dynamic music industry has emerged around artificially-voiced singing humanoid effects in Japan. Hatsune Miku is one such pop star with an artificially simulated voice and a 3-dimensional effect that draws on Japanese Manga illustration. Hatsune sings the songs of unsigned, independent songwriters but far from being part of a small musical underground, she has a large fan following. In fact, Vocaloid music was the 8th most popular genre in Japan last year, with 17.4% of the under-40 Japanese listening to Miku.1 The aim of this paper is to investigate the aesthetic, social, and political stakes that come into play in the culture surrounding digitally-voiced humanoid effects. I nominate the study of affective attachments in mediatized musical practices in place of a preoccupation with musical Liveness, a concept problematized in music scholarship of the past two decades.2 I propose that attention to Hatsune 1 Tokyo Polytechnic University Department of Interactive Media, “[Vocaloid Survey]” a press release (February 26, 2013). Accessible online http://www.t-kougei.ac.jp/guide/2013/vocaloid.pdf 2 Philip Auslander, Liveness: Performance in a Mediatized Culture Second Edition (New York: Routledge, 2008 [1999]). Jonathan Sterne, The AudiBle Past: Cultural Origins of Sound Reproduction (Durham, NC: Duke University Press, 2003). Jason Stanyek and Benjamin Piekut, “Deadness: Technologies of the Intermundane,” TDR: The Drama Review 54/1 (Spring 2010). -
ASIA-PACIFIC NEWSLETTER September-October 2009 Dear Commoners
ASIA-PACIFIC NEWSLETTER September-October 2009 Dear Commoners, We are very glad to present to you this first issue of the CC Asia Pacific Newsletter. Please take a moment to browse the many updates and stories brought to you by the fellow Creative Commons jurisdiction project teams in the Asia and Pacific region. We hope you will find the newsletter interesting and useful, and enjoy it as much as we do! It has been a while since some of jurisdiction project teams met at the “Commons Crossroads” conference (http://cc-asia-pacific.wikidot.com/) in Manila in February. At the meeting, collaborative projects utilizing the Creative Commons licenses were showcased, and observations about CC license usage in the region were presented. The participating jurisdiction project teams also exchange views on the organizational issues of their projects, and discuss the common challenges they are facing. Sensing the needs to maintain close contacts among the CC jurisdiction projects in this region, it was proposed to have a bi-monthly electronic newsletter from which each of us can be informed of CC activities in one another’s jurisdiction. It is also hoped that the newsletter serves as a venue to share experience and to enable collaboration. After the “Commons Crossroads” conference, the Creative Commons jurisdiction projects in Asia and the Pacific region jointly prepared and announced an Action Plan Statement. In the statement, several action strategies are outlined in defining the regional roadmap for Creative Commons. One of the action items listed in the Statement is to publish a bi- monthly newsletter. With your input and help, together we have given birth to this first issue. -
The Vocaloid Phenomenon of Vocal Synthesis and Sample Concatenation
The Vocaloid Phenomenon of Vocal Synthesis and Sample Concatenation Cole Masaitis University of Mary Washington Department of Music Dr. Mark Snyder January 30, 2017 Masaitis, 1 Imagine a future where a singing voice synthesizer sang to you, instead of a real human. Instead of imagining that, what if I told you that this particular future has been around for quite some time? Vocaloid, or computer software that matches this exact description has been blowing up in Japan for over a decade, with other areas including the West being largely in the dark about it. In reality, Vocaloid has been slowly but surely seeping into pop-culture in other countries as well and was created all the way back in the early 2000’s. Vocaloid originated in the early 2000’s and was developed by a man named Hideki Kenmochi who some refer to as “the father” of the software, for a research project at Pompeu Fabra University in Barcelona, Spain. Following his time at university, Yamaha Corporation funded his research which allowed for the further development of his creation and since then, the software has evolved into the worldwide phenomenon called Vocaloid that exists today. Vocaloid employs sample concatenation or sequence that replicates the human voice, based on actual recordings of different individuals for each voicebank found in the Vocaloid editor programs. Originally, it was only capable of pronouncing vowels, and by the year 2003, the team released their product which was now able to sing simplistic words. Over the years the product went through several iterations before it reached the modern version of vocal synthesis it exemplifies today, in the form of Yamaha’s Vocaloid 4 software with more advanced phonetic, linguistic, and vocal than ever before. -
Nakamura International Course
NAKAMURA SENIOR GIRLS’ HIGH SCHOOL Nakamura International Course Class of 2019 Thesis Projects Table of Contents Introduction ……………………………………………………………....3 Movies and Gender by Ai Ehigiato Odagiri…………………………………….……………...4 Early Childhood Education and Gender by Hana Sato ..……………………………………………………........16 Housework and Gender by Mako Sato .……………….…………………………….………..…..30 Basketball and Gender by Unbin Chon .………………………………...…………….………...43 Music and Gender by Yui Nakahara .……………………………………………………….57 Fashion and Gender by Kanna Hashimoto ……………….………………………………….70 VOCALOID and Gender by Hinako Hatanaka......………………………………………………..84 Description of the Thesis Project…………………..………………….99 2 Introduction The Nakamura International Course (NIC) students, class of 2019, have successfully completed a one-year study abroad program. During their time in the USA, Canada and Australia, the 7 students researched and wrote a thesis on the topic Gender Issues. Choosing an additional subject relevant to their interests, each student conducted research by using the internet and the school library. From this information they created a set of interview questions to ask both men and women during their study abroad. The students utilized critical thinking in order to plan and write a research thesis on their chosen topic, how this connects to Gender Issues, and interpret the data collected from their interviews. In addition to this, the NIC students also presented their thesis to an audience to share what they have learned from their experiences. In this collection are the thesis essays written by each student. (Stasia Ise & Norio Hayakawa) Nakamura International Course Class of 2019 Ai Ehigiato Odagiri Hana Sato Mako Sato Unbin Chon Yui Nakahara Kanna Hashimoto Hinako Hatanaka 3 Movies and Gender Ai Ehigiato Odagiri Nakamura Senior Girls’ High School Nakamura International Course Thesis Project 4 Introduction “If you stand for equality, then you’re a feminist.