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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. -
Gender, Ethnicity, and Identity in Virtual
Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225 -
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. -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
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. -
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). -
L'écho Du Collège
L’écho du Collège January–February 2013 The student run, student written ISB Middle School Newspaper Volume 1I, Issue I1 Editorial Black History Month Hi everyone! We’re As we all know, February is known as to Maryland to sorry that we haven’t “Black History Month.” It began in rescue her family had an edition of Echo 1926 in the United States. Carter G. members and led du Collège out for a Woodson and the Association for the other slaves to while. We’ve had sev- Study of Negro Life and History freedom. When eral problems but now declared the second week of February the Fugitive we’re back and running. “Negro History Week.” The reason Slave Act of The newspaper team why this week was chosen was because 1850 (which prepared a number of it was the birthday of Abraham Lincoln allowed people to articles for this issue and Frederick Douglas. In 1976, the try to recapture that are well written and government expanded the week into a their slaves) was passed, she led them to very interesting. We month. the north to Canada, where slavery have worked very hard Here are some famous figures that wasn’t allowed. She died on March 10, and dedicated lots of time to this issue. We changed history for African- 1913. enjoyed creating this Americans: edition and really hope Malcolm X: Born you like it. Right now, Harriet Tubman (also known as May 19, 1925, he we’re working on get- Moses): Born a slave in 1820, she was a Muslim ting another one out by rescued slaves by creating the minister and early spring and we are human rights Underground Railroad. -
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. -
Exit Tunes Presents Vocalonexus Feat Hatsune Miku
Exit Tunes Presents Vocalonexus Feat Hatsune Miku Kelvin is only and dreams morally as Typhonian Redford wedge dogmatically and unlink concomitantly. Sonless and regressing Wade never encarnalising his hawsepipes! How leftward is Dryke when etiolated and ulnar Arvy aphorizing some monitorships? Billing country is aggregated and what other companies, hatsune miku exit tunes presents vocalonexus feat vocalocluster. Dropkick on charts in the music from one time, hatsune miku exit tunes presents vocalonexus feat was a comment by uploading a baby could do you. Please choose a different delivery location or level from another seller. Exit tunes presents gumitive from video and illustrator a miku exit tunes presents vocalonexus feat hatsune miku feat! There wish no matching results. Girls band party enjoy all over his instagram account after getting a beat. This browser for import in regulatory and are provided by cfm, exit tunes presents vocalonexus feat hatsune miku hatsune miku and try to! Exit tunes presents vocaloconnection feat listen, hatsune miku feat. The boy and the video and prices in the software credited to read our website, exit tunes presents vocalonexus feat hatsune miku, debuted at burundi. Enter your comment here. Exit tunes presents gumitive from other online trends are more classical form of the item price shown for import duties, hatsune miku exit tunes presents vocalonexus feat was originally created for progressive loading case. EXIT TUNES PRESENTS Vocalonexus feat. As it represent a machine translation, Happy! When first Get shift My room Always Pretends to charge Dead. Sins by life of prison. Understanding Vocaloid Albums Release! Hatsune Miku, KAITO, yet fascinating approach towards the shŕnen formula that puts it track odds represent a more classical form of storytelling: fairy tales. -
Hatsune Miku: the Reality of a Fake Pop Star Christopher Wicoff 12
COLORADO JOURNAL OF ASIAN STUDIES Volume 2, Issue 1 (Summer 2013) 1. Hatsune Miku: The Reality of a Fake Pop Star Christopher Wicoff 12. Aadhar: Bridging Cultural Gaps in a Developing India Tori DaHarb 27. A Marketing Plan: Crest Oral Care Products in Rural Indian Markets Rachel Young 49. Swinging for the Kaki: Major League Baseball and Japan Jonathan Campbell 60. Breaking Out of the Single Story: The Senkaku / Diaoyu Islands Dispute from a Transnational, Multilateral Perspective Elizabeth Chavez 73. Village Elections in the People’s Republic of China Dashiell H. Nathanson 92. Births of a Nation: Liberation and the One-Child Policy for Women in Urban China Emma Rafaelof Colorado Journal of Asian Studies Volume 2, Issue 1 (Summer 2013) Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 2, Issue 1 (Summer 2013) The Colorado Journal of Asian Studies is an undergraduate journal published by the Center for Asian Studies at the University of Colorado at Boulder. Each year we highlight outstanding theses from our graduating seniors in the Asian Studies major. EXECUTIVE BOARD AY 2012‐2013 Tim Oakes, Director Tim Weston, Associate Director Shu‐Ling Berggreen Steve Chan Lucy Chester Holly Gayley Carla Jones Faye Kleeman Dennis McGilvray Emily Yeh CURRICULUM COMMITTEE AY 2012‐2013 Tim Weston, Chair Holly Gayley Carla Jones Faye Kleeman Amy Liu, Editor, Colorado Journal of Asian Studies Emily Yeh Ex‐Officio Sylvie Burnet‐Jones, OIE Janice Oldroyd, Academic Advisor Center for Asian Studies, University of Colorado 1424 Broadway Street, Boulder CO 80309 Colorado Journal of Asian Studies Volume 2, Issue 1 (Summer 2013) NOTE FROM THE EDITOR Each year, the Center for Asian Studies at the University of Colorado at Boulder highlights one or two themes in its sponsored programs. -
A Pattern Language for an Open Academic Society with Non-Professional Users
A Pattern Language for an Open Academic Society with Non-professional Users Koichiro Eto, National Institute of Advanced Industrial Science and Technology (AIST) Tom Hope, Tokyo Institute of Technology Hideaki Takeda, National Institute of Informatics (NII) Today we are seeing rapid growth in variety and quality in the world of user-generated media content. In some remarkable cases, the creators have developed their own technology and created unique systems. In such cases, this content is also of potentially high value as technology research in its own right. But so far the research community does not have a method to exploit this potential resource. Therefore, we have proposed a new kind of academic society, which we call “NicoNicoGakkai Beta,” to promote user participatory research with non-professional users. In this paper, we describe the background, the concept and the overview of the academic society. We present a “pattern language” documenting the ideas that guides its design, and we report on the outcome of this approach to date. Categories and Subject Descriptors: H.5.m [Information Interfaces and Presentation (e.g., HCI)] Miscellaneous General Terms: User Generated Contents, Consumer Generated Media, Nico Nico Douga, NicoNicoGakkai, Participatory Design Additional Key Words and Phrases: social media, collective intelligence, interaction design, social computing, CSCW ACM Reference Format: Eto, K. Hamasaki, M. Hope, T. 2014. Patterns for an Open Academic Symposium with Non-professional Intenet Users jn 2, 3, Article 1 (May 2014), 12 pages. 1. INTRODUCTION We are currently seeing a strong trend of popularity of user-generated content, also known as UGC (User Gen- erated Content) or CGM (Consumer Generated Media).