DOCSLIB.ORG

Applicationofsinging Synthesistechniquesto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Applicationofsinging Synthesistechniquesto APPLICATION OF SINGING SYNTHESIS TECHNIQUES TO BERTSOLARITZA a dissertation presented by Xabier Sarasola Aramendia Thesis director: Dr. Eva Navas Cordón in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Computer Science UPV/EHU Bilbo October 2020 (cc)2020 XABIER SARASOLA ARAMENDIA (cc by-sa 4.0) Acknowledgments I would like to thank the following people for helping with this research project: • Eva nire tutoreari, laguntza eta pazientzia guztiarengatik. Itsasuntzi guztiek behar dute lema. Flotatzea eta aurrera egitea ez da inoiz nahikoa. • Aholabeko taldekide guztiei. Ezinezkoa da neurtzea lan hau egin bitartean jasotako erronkak, laguntza eta babesa. Inma, meritoa dauka hau bezelako talde poliedrikoa bat gainbegiratzea eta zer esanik ez honekin helburu koer- enteak lortzea. Eskerrik asko gidaritzarengatik. Jon, eskerrik asko unibert- sitate irakaskuntzarako sarreran laguntzeagatik. Makinista izatea ez duzu oraindik lortu baina bips bezelako lurrun-makina bat nola zaintzen duzun ikusita argi dago arazorik ez zenuela izango eskala handiagoekin. Ibon, er- ronka dialektiko etengabea, eskerrik asko txartel grafikoen eta pythonen arora sartzerakoan pauso bakoitzaren zehaztasun zientifikoa exijitzeagatik. Igor, eskerrik asko hizketaren ezagutzarekin laguntzeagatik eta edozein gairi buruzko ikuspuntu kritikoa emateagatik. Daniel, tan excepcional en el conocimiento de la voz humana y tan cercano en el día a día. Gracias por la introducción y ayuda en mis inicios en la sínte- sis de voz. Agustín, gracias también por la ayuda con la síntesis de voz en mis inicios y los cursos acelerados sobre el idioma y cultura japonesa. No creo que mi trabajo haya conseguido la calidad de Hatsune Miku pero espero haberme acercado lo suficiente. David, gracias por haberme respondido i con elegancia tantas dudas y preguntas en aspectos que han ido desde lo estríctamente profesional a estadísticas tan polémicas como las asistencias post-rebote en el fútbol. Gracias también por implantar y haber sostenido la cultura de las palmeras. Las idiosincrasias se hacen, no se nacen. Luis, gra- cias por la amabilidad y ayuda desde el primer momento en el que llegué. Tu conocimiento sobre el laboratorio y todo lo que lo rodea se acerca a tu enciclopédico saber sobre el cómic. Ambas habilidades han sido esenciales durante estos años. Sneha, thank you for introducing to our research group the amazing world of the human brain and your help with all my musical questions. Itxasne, eskerrik asko laborategiari emandako gatz eta piperrarengatik eta laguntzarengatik. Palmeren kultura ere zurea da. Victor, aunque hayamos compartido poco tiempo de laboratorio, te tengo que agradecer haber puesto encima de la mesa las tecnologías y desafíos que marcarán el futuro de la síntesis de voz. Eder, ez dugu asko elkar topatu denbora honetan baina musikari buruz izan- dako galdera askoren erantzunak topatzen lagundu didazu. Eskerrik asko. • Giorgos and Maria, for all the help and advise offered in that little paradise called Creta. • Bertsozale Elkartea eta Xenpelar dokumentazio zentroa, eskerrik asko hain- bat urtetan profesionaltasun handiaz jasotako datuak erabiltzen uzteagatik. Datu hauek izan dira lan honen subjektu material nagusia eta espero dut bertsolaritzaren etorkizunerako bide berriak irekitzen lagundu izana. ii Laburpena Tesi hau bertsolaritza kantu-ahots sintesi sistema berri baten garapenean zen- tratzen da, zuzeneko grabazioak oinarri gisa erabiliz. Lan honen erronka ez da soi- lik kantu-ahots sintesi sistema bat martxan jartzea. Bertsolaritza grabazioen cor- pusak bertso inprobisatuen transkripzioak ditu, baina grabazio artxiboek kantu- ahotsa ez diren hainbat elementu dituzte. Grabazioa gehienak zuzeneko saioak di- renez, hizlarien ahotsa, jendearen txaloak eta zarata datu-basearen parte dira. Gain- era, kantu-ahotsa ez dago etiketatua datu-basean. Ezaugarri hauek dituen datu- base batekin, lan honen helburua bertsolaritza audioak garbitu, segmentatu eta etiketatzeko metodoak sortzea da, ondoren datu horiek kantu-ahotsaren sintesi ereduak sortzeko balio duten aztertzeko. Grabazioetan kantu-ahots segmentuak automatikoki lortzeko metodoak garatu ditugu, hizketaetakantu-ahotsabereiztendituztenalgoritmoaksortuz. Interbentzi- oen eta fonemen segmentazioa burutu dugu kantari anitzeko datubasean. Pro- posatutako segmentazio algoritmoek etorkizunean ager daitezken bertsolari be- rrien grabazioak segmentatzeko gaitasuna dute. Ondoren, bertsolaritza artearen propietate musikalak aztertu ditugu eta datu-baseko melodia teorikoak eta haien interpretazioa alderatu ditugu. Sistema automatikoak definitu ditugu bertsolarien kantu-ahotsa musikalki etiketatzeko. Etiketatze honek vibratoa kontuan hartzen du eta honen erabilera aztertu dugu bertsolari bakoitzean. Lortutako etiketatze sistema guztien ebaluazioa egin dugu prozesuan zehar. Etiketatutako bertso grabazioen datu-basea sortu ondoren kantu-ahots sintesi sistemak sortu ditugu HMM eta DNN-ak erabiliz. Sistema hauei pitch nor- iii malizazioa, tempo egokitzapena eta vibrato iragarpen teknikak gehitu dizkiegu. Metodo bat definitu dugu partiturak bertsolari bakoitzera automatikoki egok- itzeko hauen pitch tartea kontuan hartuz. Bertsolari desberdinetarako sortutako sintesi ereduak modu subjektibo eta objektiboan ebaluatu ditugu emaitza onak lor- tuz. Tesi honen ekarpenak bertsolaritza eta kantu-ahotsaren sintesiarekin erlazion- atzen dira. Informazio maila berriak gehitu dizkiogu bertsolaritza corpusari, kantu- ahotsaren segmentazioarekin, interbentzioen segmentazi- oa, fonemen segmen- tazioa eta etiketatze musikalarekin. Etiketatzeko metodo hauek ez dute inolako kontrolik behar eta, beraz, etorkizunean datu-base etiketatuak handitzeko tresnak sortu ditugu. Kantari anitzeko datu-base bat sortu dugu, artearen egoerako beste kantu-ahots datubaseak baina handiago dena. Azkenik, bertsolaritza kantu-ahotsa sintetizatzeko sistemak definitu ditugu kantari eta teknologia desberdinekin, emai- tza positiboak lortuz. iv Abstract This thesis focuses on the development of a new bertsolaritza singing voice syn- thesis system using as base original bertsolaritza live session recordings. The chal- lenge of this work is not only the implementation of a singing voice synthesis sys- tem. The recorded corpus of bertsolaritza contains the transcriptions of impro- vised verses, but the audio files contain multiple elements that are not singing voice. As the majority of the recorded audios are live sessions, the voice of a speaker, ap- plause of the public and noise are part of the database. In addition, the musical labeling of the singing voice is not included in the database. With a database of these properties, the aim of this work is to create methods to clean, segment and label the audios in the bertsolaritza and analyze the possibility of using them to create synthesis models for bertsolaritza singing voice synthesis. We have developed methods to automatically obtain the singing voice segments in the recordings, creating new speech and singing voice classification algorithms. The segmentation of bertso utterances and phonemes has been performed ina multi-singer database. The segmentation algorithms proposed have the capacity to align material from unseen bertsolaris in the future. After that, we analyzed the musical properties of the bertsolaritza art and compared the theoretical melodies in the database with the actual interpretation of them. We defined automatic sys- tems to musically label the bertsolaritza singing voice generating a fully labeled bertsolaritza database. Musical labeling included vibrato and we analyzed the use of it in each bertsolari. We evaluated all automatic labeling systems in the process. After creating a labeled database of bertso recordings we generated singing voice v synthesis systems using HMMs and DNNs. We included f0 normalization, tempo adaptation and vibrato prediction techniques in these systems. We defined meth- ods to automatically adapt music scores for each bertsolari considering the pitch range of each bertsolari. We evaluated synthesis models created for different bert- solaris in a subjective and objective way obtaining good results. The contributions of this thesis are related to bertsolaritza and singing voice syn- thesis. We added new information levels to the bertsolaritza corpus with the seg- mentation of singing voice, the alignment of utterances and phonemes and the subsequent musical labeling. These labeling methods need no manual supervision and therefore we created tools to increase the labeled database in the future. We created a multi-singer singing voice database that is considerably bigger than any state of the art singing voice databases. Finally we defined systems to synthesize bertsolaritza singing voice using different singers and technologies obtaining pos- itive results. vi Contents Acknowledgments i Laburpena iii Abstract v Contents vii Listing of figures xiii Listing of tables xix 1 Introduction 1 1.1 Motivation ............................ 2 1.1.1 Bertsolaritza ........................ 3 1.1.2 Singing voice synthesis .................. 3 1.1.3 Aholab signal processing laboratory ............ 4 1.1.4 Convergence of paths ................... 4 1.2 Research overview ........................ 4 1.3 Objectives ............................ 6 1.4 Thesis structure .......................... 8 2 State of the art 11 2.1 Singing voice ........................... 12 2.1.1 Singing voice f0 ...................... 18 vii 2.1.1.1 Modeling strategies
Load more

Recommended publications
  • Basque Studies
    Center for BasqueISSN: Studies 1537-2464 Newsletter Center for Basque Studies N E W S L E T T E R Basque Literature Series launched at Frankfurt Book Fair FALL Reported by Mari Jose Olaziregi director of Literature across Frontiers, an 2004 organization that promotes literature written An Anthology of Basque Short Stories, the in minority languages in Europe. first publication in the Basque Literature Series published by the Center for NUMBER 70 Basque Studies, was presented at the Frankfurt Book Fair October 19–23. The Basque Editors’ Association / Euskal Editoreen Elkartea invited the In this issue: book’s compiler, Mari Jose Olaziregi, and two contributors, Iban Zaldua and Lourdes Oñederra, to launch the Basque Literature Series 1 book in Frankfurt. The Basque Government’s Minister of Culture, Boise Basques 2 Miren Azkarate, was also present to Kepa Junkera at UNR 3 give an introductory talk, followed by Olatz Osa of the Basque Editors’ Jauregui Archive 4 Association, who praised the project. Kirmen Uribe performs Euskal Telebista (Basque Television) 5 was present to record the event and Highlights 6 interview the participants for their evening news program. (from left) Lourdes Oñederra, Iban Zaldua, and Basque Country Tour 7 Mari Jose Olaziregi at the Frankfurt Book Fair. Research awards 9 Prof. Olaziregi explained to the [photo courtesy of I. Zaldua] group that the aim of the series, Ikasi 2005 10 consisting of literary works translated The following day the group attended the Studies Abroad in directly from Basque to English, is “to Fair, where Ms. Olaziregi met with editors promote Basque literature abroad and to and distributors to present the anthology and the Basque Country 11 cross linguistic and cultural borders in order discuss the series.
    [Show full text]
  • Oral Tradition 22.2
    CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Missouri: MOspace Oral Tradition, 22/2 (2007): 33-46 Social Features Of Bertsolaritza Jon Sarasua Social Features of Bertsolaritza The Bertsolaritza Setting:1 The Basque Language Community Sung, extempore verse-making in Basque (hereafter referred to as bertsolaritza, as it is known in the Basque language) holds an important place in the culture of the Basque language, a speech community of about 600,000 people. This community is divided among four territories inside the Spanish state and three inside the French state; the population in these territories put together is around three million. The Basque language community is a small speech community and finds itself in a minority in its native land. Nevertheless, we are talking about a community that goes back a long way in history. The most recent findings by a number of scientific disciplines appear to confirm its Pre-Indo- European origin, since the community of Euskara, the Basque language, is regarded as one of the oldest in Europe. It is important to bear in mind the key characteristics in the development of our speech community: a firm determination to maintain its roots and its ability to adapt unceasingly in so many eras and contexts by preserving its essential nature in difficult balances. These key characteristics and behavior are linked to the way the present and future of bertsolaritza is understood and, in general, to the way that the evolution of the Basque language is experienced. Right now, the Basque language finds itself at an especially critical moment; on the one hand it is on the point of losing the battle for revival in some of its territories, and on the other it is going through a difficult normalization or development process.
    [Show full text]
  • Female Improvisational Poets: Challenges and Achievements in the Twentieth Century
    FEMALE .... improvisational - ,I: t -,· POETS ...~1 Challenges and Achievements in the Twentieth Century In December 2009, 14,500 people met at the Bilbao Exhibi­ tion Centre in the Basque Country to attend an improvised poetry contest.Forty-four poets took part in the 2009 literary tournament, and eight of them made it to the final. After a long day of literary competition, Maialen Lujanbio won and received the award: a big black txapela or Basque beret. That day the Basques achieved a triple triumph. First, thou­ sands of people had gathered for an entire day to follow a lite­ rary contest, and many more had attended the event via the web all over the world. Second, all these people had followed this event entirely in Basque, a language that had been prohi­ bited for decades during the harsh years of the Francoist dic­ tatorship.And third, Lujanbio had become the first woman to win the championship in the history of the Basques. After being crowned with the txapela, Lujanbio stepped up to the microphone and sung a bertso or improvised poem refe­ rring to the struggle of the Basques for their language and the struggle of Basque women for their rights. It was a unique moment in the history of an ancient nation that counts its past in tens of millennia: I remember the laundry that grandmothers of earlier times carried on the cushion [ on their heads J I remember the grandmother of old times and today's mothers and daughters.... • pr .. Center for Basque Studies # avisatiana University of Nevada, Reno ISBN 978-1-949805-04-8 90000 9 781949 805048 ■ .~--- t _:~A) Conference Papers Series No.
    [Show full text]
  • The Bertsolariak Championship As Competitive Game and Deep Play Jexux Larrañaga Arriola University of the Basque Country
    BOGA: Basque Studies Consortium Journal Volume 4 | Issue 1 Article 2 October 2016 The Bertsolariak Championship as Competitive Game and Deep Play Jexux Larrañaga Arriola University of the Basque Country Follow this and additional works at: http://scholarworks.boisestate.edu/boga Part of the Basque Studies Commons Recommended Citation Larrañaga Arriola, Jexux (2016) "The Bertsolariak Championship as Competitive Game and Deep Play," BOGA: Basque Studies Consortium Journal: Vol. 4 : Iss. 1 , Article 2. https://doi.org/10.18122/B2R99Z Available at: http://scholarworks.boisestate.edu/boga/vol4/iss1/2 The Bertsolariak Championship as Competitive Game and Deep Play1 Jexux Larrañaga Arriola, PhD 1. Introduction The objective of this article is to give an anthropological description of a ritual performance which has survived from the past and which has taken a renewed vitality during the past decades. It begins with the paradox which Joseba Zulaika discussed in his book Bertsolariaren jokoa eta jolasa (The Joko and Jolas of the Bertsolaria)(1985), where he distinguishes between the joko (competitive game) and jolas (play) dimensions of the bertsolaria’s performance. The first question is therefore whether the competition between the bertsolariak (improvisational poets) can be situated in a wider cultural context. Even more, could it perhaps be situated at the very center of cultural creativity and community production? Here we get to the core of the paradox: the bertsolariak do engage in a competitive game, yet winning the championship is not what matters most. This needs to be seen in the duality of mutually opposing perspectives that are accepted by the audience as reinforcing each other.
    [Show full text]
  • Bertsolaritza Gaur Eta Bihar
    Bertsolaritza gaur eta bihar Antton Haranburu Jose Mari Iriondo Sarrera Gure bertsolaritzari buruzko idazlan hau egin behar eta, edozein euskaldun eta bertsozalek ber- tsolaritzaz duen ikuspegi arruntetik abiatzen naiz. Denok dakigu zerbait bertsolaritzaz, denok ezagu- tzen ditugu gure bertsolariak eta gutxi edo gehiago denok dakigu zer den bertsolari bat. Baina behar- bada intuizioz bakarrik dakizkigu gauza guzti hauek. Ez dugu inoiz gure bertsolaritzaren feno- meno hori sakonki aztertu, ez dugu bertsoaren ana- lisirik egin eta ez dugu bertsolariaren barne proze- su hori arrazoitu. Bertsolaria-bertsoa-bertsolaritza gauza oso bat bezala ulertzen dugu. Horregatik idazlan honetan elementu hauetako bakoitzaren azterketa bat egitea litzateke nire as- moa, bertsolaria, bertsoa eta bertsolaritza bakarka hartuz. Hala ere irakurleak jakin behar du ez dela hau azterketa sakon eta sistematiko bat; gehienik ere oharpen batzuk egitera eta pista batzuk marka- tzera ausartzen naiz eta ondoren esango dudan guz- tia iritzi pertsonal baten kolokan ezarri nahi nuke, dogmakeria guztietatik urrun. BERTSOLABTTZA GAUR ETA BIHAR 39 I. — Bertsolariak Gure herri-kulturaren fenomeno eta adierazpenik berezie- netako bat gure ahozko bertsolaritza da. Baina oharpen honekin hasi nahi nuke: gure herria bertsozale baino lehenago bertsolari da. Zu eta ni, irakurle, bertsolari gara eta euskaraz ari garen unetik denok gara bertsolari. Orain zentzu konkretu batetara mugatuz, bertsoak egin eta jendaurrean kantatzen dituen horri deitzen diogu bertsolari. Ez du gehiago zehazterik merezi, denok izen eta abizenez ezagutzen ditugu gure bertsolariak. Ez goaz orain bertsolarien klasifikapen bat egitera bertsozaleak bertsolari bakoitzari etnan ohi dion mai- lari begira. Hala ere gaur egun bertsolarien sailkapen nagusi bat egiten hasita, bertsolari ikasi diren eta hizkuntza landua dutenen saila alde batetik eta gutxiago ikasiak diren eta hizkuntza landua ez dutenen saila bestetik berezi beharko lirateke.
    [Show full text]
  • + Press Dossier
    NATIONAL BERTSOLARIS CHAMPIONSHIP 2017 The 17th edition of the National Bertsolaris Championship will be held between 23 September and 17 December. It is the ninth championship organised by the Association of the Friends of Bertsolaritza. The National Bertsolaris Championship 2017 will be divided into 14 sessions. The contest will start in Baigorri and, for the fourth year running, the final will be held in the Bilbao Exhibition Centre in Barakaldo. This year a total of 43 bertsolaris (verse singers) will be taking part. In addition, there will be a group made up of 18 theme presenters, as well as 20 judges. The National Bertsolaris Championship is held once every four years and is extremely popular. However, it is just as important to bear in mind what this movement is about. Bertso (improvised verse) is the basis of bertsolaritza and it hides the secret of the championship. Day after day, bertso spreads from village to village, town square to town square, school to school, reaching every spot in the Basque Country. Bertsolaritza is a broad and dynamic movement, and the work involves many people. This non-stop activity is reflected in the National Bertsolaris Championship. 1 Bertsozale Elkartea. Mintzola Etxea. Kale Nagusia 70. 20150 Villabona T. (00) (34) 943 69 41 29 / [email protected] www.bertsozale.com MAIN FEATURES Participation The finalists of the 2013 edition of the National Bertsolaris Championship and the people who have qualified in their respective provincial championships are eligible to participate in this year’s National Bertsolaris Championship. There will be a total of 43 bertsolaris.
    [Show full text]
  • [email protected] :: :: (+34) 943 693 870 Nazioarteko Inprobisatzaileen Bira International Improvisators Tour
    [email protected] :: www.mintzola.eus :: (+34) 943 693 870 Nazioarteko Inprobisatzaileen Bira International Improvisators Tour The International Improvisators Tour is an initiative organised by Mintzola Ahozko Lantegia and Lanku Kultur Zerbitzuak. The aim of the tour is to continue gathering knowledge about the improvised verse singing in other cultures and languages. The tour of the improvisators from Cuba, Argentina and the Basque Country will take place from the 9th to the 14th of October. PROGRAMME Tuesday, October 9, PAMPLONA At 7.00pm, in the Zentral hall Guest improvisators: Tomasita Quiala (Cuba) and Araceli Argüello (Argentina) Bertsolaris: Maialen Lujanbio and Julio Soto Conductor: Iker Iriarte Organised by Pamplona City Council Wednesday, October 10, ERANDIO At 7.00pm, in the Merkatu Zaharra hall Guest improvisators: Tomasita Quiala (Cuba) and Araceli Argüello (Argentina) Bertsolaris: Amets Arzallus and Jone Uria Conductor: Iker Iriarte Organised by Erandio City Council Thursday, October 11, HERNANI At 7.00pm, at the Biteri cultural centre Guest improvisators: Tomasita Quiala (Cuba) and Araceli Argüello (Argentina) Bertsolaris: Maialen Lujanbio and Julio Soto Conductor: Iker Iriarte Organised by Hernani City Council Friday, October 12, VITORIA-GASTEIZ At 7.00pm, in the Beñat Etxepare theatre Guest improvisators: Tomasita Quiala (Cuba) and Araceli Argüello (Argentina) Bertsolaris: Maialen Lujanbio and Xabi Igoa Conductor: Maite Berriozabal Organised by Vitoria-Gasteiz City Council [email protected] :: www.mintzola.eus
    [Show full text]
  • Joseba Intxausti
    Author: JOSEBA INTXAUSTI The Country On the shores of the Atlantic of the Basque Ocean, at the very end of the Bay of Biscay and straddling the Franco- Language Spanish border, Euskal Herria (the Basque Country) opens up to the sea through its ports of Bilbao (Bilbo), San Sebastián (Donostia) and Bayonne (Baiona). Further inland, by way of contrast, beyond the mountain range running parallel to the coast, the horizon opens up to the southern lands, domains of sun and vineyards: these are the plains of Navarre with its provincial capital Pamplona/lruña and Araba (capital city: Vitoria-Gasteiz). This is the country of the Basque people, EUSKAL HERRIA the Kingdom of Navarre of old. This is what Euskal Herria looks like geographically. Its 20,742 km2 are included within two different countries and three administrative territories: the Basque Autonomous Community and the Foral The unbroken presence of the Community of Navarre as well as in the heart of the French «Departement» of the Pyrenees. Basque people on the Continent over thousands of years means that it is the most European of the Peoples of Europe, earlier than even the Indo- European peoples. Here —in one single human community— country, people and language have been inseparably united since time immemorial: a fascinating oddity. It seems that the Basques have only ever lived here, and that this is the only land where their language has thrived. It is not surprising, therefore, that all of this can be expressed in just two words: Euskal Herria. The term designates both land and people as well as serving as a self-definition: «the Basque speech community».
    [Show full text]
  • A Unit Selection Text-To-Speech-And-Singing Synthesis Framework from Neutral Speech: Proof of Concept 39 II.1 Introduction
    Adding expressiveness to unit selection speech synthesis and to numerical voice production 90) - 02 - Marc Freixes Guerreiro http://hdl.handle.net/10803/672066 Generalitat 472 (28 de Catalunya núm. Rgtre. Fund. ADVERTIMENT. L'accés als continguts d'aquesta tesi doctoral i la seva utilització ha de respectar els drets de ió la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials d'investigació i docència en els termes establerts a l'art. 32 del Text Refós de la Llei de Propietat Intel·lectual undac F (RDL 1/1996). Per altres utilitzacions es requereix l'autorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No s'autoritza la seva reproducció o altres formes d'explotació efectuades amb finalitats de lucre ni la seva comunicació pública des d'un lloc aliè al servei TDX. Tampoc s'autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. Universitat Ramon Llull Universitat Ramon ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o materiales de investigación y docencia en los términos establecidos en el art. 32 del Texto Refundido de la Ley de Propiedad Intelectual (RDL 1/1996).
    [Show full text]
  • Basque Literary History
    Center for Basque Studies Occasional Papers Series, No. 21 Basque Literary History Edited and with a preface by Mari Jose Olaziregi Introduction by Jesús María Lasagabaster Translated by Amaia Gabantxo Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support from the Basque government. Center for Basque Studies Occasional Papers Series, No. 21 Series Editor: Joseba Zulaika and Cameron J. Watson Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2012 by the Center for Basque Studies All rights reserved. Printed in the United States of America. Cover and Series design © 2012 Jose Luis Agote. Cover Illustration: Juan Azpeitia Library of Congress Cataloging-in-Publication Data Library of Congress Cataloging-in-Publication Data Basque literary history / edited by Mari Jose Olaziregi ; translated by Amaia Gabantxo. p. cm. -- (Occasional papers series ; no. 21) Includes bibliographical references and index. Summary: “This book presents the history of Basque literature from its oral origins to present-day fiction, poetry, essay, and children’s literature”--Provided by publisher. ISBN 978-1-935709-19-0 (pbk.) 1. Basque literature--History and criticism. I. Olaziregi, Mari Jose. II. Gabantxo, Amaia. PH5281.B37 2012 899’.9209--dc23 2012030338 Contents Preface . 7 MARI JOSE OLAZIREGI Introduction: Basque Literary History . 13 JESÚS MARÍA LASAGABASTER Part 1 Oral Basque Literature 1. Basque Oral Literature . 25 IGONE ETXEBARRIA 2. The History of Bertsolaritza . 43 JOXERRA GARZIA Part 2 Classic Basque Literature of the Sixteenth to Nineteenth Centuries 3. The Sixteenth Century: The First Fruits of Basque Literature .
    [Show full text]
  • Episode 8 Transcript
    Checked Out! Episode 8 Transcript Kim Anderson: Hi there! And welcome to another episode of "Checked Out", which is the official podcast of the University Libraries and Teaching & Learning Technologies. My name is Kimberly Anderson. I'm the Director of Special Collections, and part of my job is administratively overseeing and supporting the Jon Bilbao Basque Library. The library is located on the third floor of the Matthewson-IGT Knowledge Center. Northern Nevada has had a long and rich history of Basque culture. Much of that history is reflected in the Basque library in the form of books, journals, ephemera, rare books, photographs, and other archival materials and media. It's a fabulous collection. I'm proud to preserve these records to celebrate Basque culture and to serve as a window for English speakers into the Basque world. Today, Sasha and Sean are speaking with Iñaki Arrieta Baro - our Basque librarian, and the head of the Basque Library. Iñaki brings a sense of passion and pride to his job every day in addition to his depth of insight from knowledge of the diaspora and Basque culture both in Nevada and in the Basque country. Ever since UNR transitioned to work from home in March, the Basque Library has been creatively continuing to provide support and education for our campus community and beyond. So, this is what they've been up to. Thank you for joining us for another episode of "Checked Out". Please enjoy the show. Thank you! Sasha Soleta: Thanks for that great introduction. Um, I am Sasha, as always.
    [Show full text]
  • Situacion-Mujeres-Hombres-Creacion
    PORTADAS - CAST CREACIÓN LIBRO.indd 1 8/7/20 9:47 Edición: 1a. junio de 2020 Tirada: 70 © Administración Pública de la Comunidad Autónoma de Euskadi Departamento de Cultura y Política Lingüística Internet: www.euskadi.eus Editor: Eusko Jaurlaritzaren Argitalpen Zerbitzu Nagusia Servicio Central de Publicaciones del Gobierno Vasco Donostia-San Sebastián 1, 01010 Vitoria-Gasteiz Autoría: Tere Irastortza Garmendia Coordinación: Kualitate Lantaldea, Dirección de Promoción de la Cultura-Observatorio Vasco de la Cultura Traducción: Mikel Babiano López de Sabando y Begoña Montorio Uribarren Diseño y composición: Mooneki Impresión: Servicio de Reprografía del Gobierno Vasco ISBN: 978-84-457-3550-3 Depósito legal: LG G 00387-2020 Un registro bibliográfico de esta obra puede consultarse en el catálogo de la red Bibliotekak del Gobierno Vasco: http://www.bibliotekak.euskadi.eus/WebOpac INTERIOR - CAST CREACIÓN LIBRO ESTRUCTURA ALTERNATIVA.indd 2 8/7/20 9:06 SITUACIÓN de mujeres y hombres en la CREACIÓN LITERARIA y las LETRAS en euskera TERE IRASTORTZA GARMENDIA Vitoria-Gasteiz, 2020 INTERIOR - CAST CREACIÓN LIBRO ESTRUCTURA ALTERNATIVA.indd 3 8/7/20 9:06 PARTE I - LA PROMOCIÓN DE LAS ESCRITORAS EN EL SISTEMA DE LAS LETRAS EN EUSKERA PROMOCIONAR A TRAVÉS DE LA LECTURA, RECONOCER A TRAVÉS DE LA OBRA 1. Origen del trabajo 6 2. Principios generales del marco teórico 8 3. Sobre ser mujer 10 3.1. Sujeto y objeto. Sobre la intersubjetividad 11 3.2. Rastrear la obra: aprender de las escritoras 13 3.2.1. Motivación para escribir y paratextos 13 3.2.2. En busca de escritoras raramente mencionadas o leídas 14 3.2.3.
    [Show full text]