Cue Sheet Standards & Rules Audio-Visual Experts Group & Cue Harmonization Working Group
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Devicelock® DLP 8.3 User Manual
DeviceLock® DLP 8.3 User Manual © 1996-2020 DeviceLock, Inc. All Rights Reserved. Information in this document is subject to change without notice. No part of this document may be reproduced or transmitted in any form or by any means for any purpose other than the purchaser’s personal use without the prior written permission of DeviceLock, Inc. Trademarks DeviceLock and the DeviceLock logo are registered trademarks of DeviceLock, Inc. All other product names, service marks, and trademarks mentioned herein are trademarks of their respective owners. DeviceLock DLP - User Manual Software version: 8.3 Updated: March 2020 Contents About This Manual . .8 Conventions . 8 DeviceLock Overview . .9 General Information . 9 Managed Access Control . 13 DeviceLock Service for Mac . 17 DeviceLock Content Security Server . 18 How Search Server Works . 18 ContentLock and NetworkLock . 20 ContentLock and NetworkLock Licensing . 24 Basic Security Rules . 25 Installing DeviceLock . .26 System Requirements . 26 Deploying DeviceLock Service for Windows . 30 Interactive Installation . 30 Unattended Installation . 35 Installation via Microsoft Systems Management Server . 36 Installation via DeviceLock Management Console . 36 Installation via DeviceLock Enterprise Manager . 37 Installation via Group Policy . 38 Installation via DeviceLock Enterprise Server . 44 Deploying DeviceLock Service for Mac . 45 Interactive Installation . 45 Command Line Utility . 47 Unattended Installation . 48 Installing Management Consoles . 49 Installing DeviceLock Enterprise Server . 52 Installation Steps . 52 Installing and Accessing DeviceLock WebConsole . 65 Prepare for Installation . 65 Install the DeviceLock WebConsole . 66 Access the DeviceLock WebConsole . 67 Installing DeviceLock Content Security Server . 68 Prepare to Install . 68 Start Installation . 70 Perform Configuration and Complete Installation . 71 DeviceLock Consoles and Tools . -
Westernisation, Ideology and National Identity in 20Th-Century Chinese Music
Westernisation, Ideology and National Identity in 20th-Century Chinese Music Yiwen Ouyang PhD Thesis Royal Holloway, University of London DECLARATION OF AUTHORSHIP I, Yiwen Ouyang, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19 May 2012 I To my newly born baby II ABSTRACT The twentieth century saw the spread of Western art music across the world as Western ideology and values acquired increasing dominance in the global order. How did this process occur in China, what complexities does it display and what are its distinctive features? This thesis aims to provide a detailed and coherent understanding of the Westernisation of Chinese music in the 20th century, focusing on the ever-changing relationship between music and social ideology and the rise and evolution of national identity as expressed in music. This thesis views these issues through three crucial stages: the early period of the 20th century which witnessed the transition of Chinese society from an empire to a republic and included China’s early modernisation; the era from the 1930s to 1940s comprising the Japanese intrusion and the rising of the Communist power; and the decades of economic and social reform from 1978 onwards. The thesis intertwines the concrete analysis of particular pieces of music with social context and demonstrates previously overlooked relationships between these stages. It also seeks to illustrate in the context of the appropriation of Western art music how certain concepts acquired new meanings in their translation from the European to the Chinese context, for example modernity, Marxism, colonialism, nationalism, tradition, liberalism, and so on. -
CD Audio, DDP Master Or WAV Files)
GZ Digital Media, a.s., Tovární 340, Loděnice, ZIP: 267 12, Czech Republic, Registration no.: 25685511, VAT no.: CZ25685511 Web: www.gzdm.cz, E-mail: [email protected], Tel.: +420 311 673 111 Vinyl - Technical Conditions These technical conditions describe the acceptable source data and materials, including documentation required for the vinyl record production in the company GZ Digital Media, a. s. The customer has the duty to get acquainted with them prior to placing the order. The source data not mentioned in these technical conditions, or source data, which are inconsistent with these conditions, should be consulted in advance with a pre-mastering engineer. 1 Technical Specifications Vinyl record is a carrier of mechanical analogue recording of natural sounds. It is predetermined for listening of this recording by means of amplitude linear reproduction chain at uniform revolving of vinyl record at nominal speed in the clockwise direction. Therefore the problems caused by any other use of record cannot be the subject of claim. Each side of vinyl record carries one physically continuous spiral groove, which begins at the perimeter of record and is ended on the specified diameter by ring closure into itself. Any possible requested different geometrical layout must be defined precisely as intended deviation from the standard IEC 98. Technical parameters of vinyl record must conform to the specification of the standard IEC 98:1987. If the supplied source materials do not allow to carry out the recording in compliance with the abovementioned standard or the character of supplied sound recording at standard setting-up of the recording device exceeds its limit values, the supplied source materials will be adjusted in the pre-mastering, or will be rejected as nonconforming, should it be impossible to adjust them. -
Music, City, Ethnicity: Exploring Music Scenes in Lisbon Jorge De La Barre*
LA BARRE, Jorge de (2010), “Music, city, ethnicity: exploring musical scenes in Lisbon”, in CÔRTE-REAL, Maria de São José (ed.), Migrações Journal - Special Issue Music and Migra- tion, October 2010, no. 7, Lisbon: ACIDI, pp. 139-156 Music, city, ethnicity: exploring music scenes in Lisbon Jorge de La Barre* Abstract This paper discusses the various ways in which music and cities interact, in a context of increased inter-connectedness betwe- en the local and the global. On the premises of the existence of a so-called ‘global culture’, cities tend to reinvent themselves by promoting various (and eventually competing) self-definitions. In the case of Lisbon, this tendency is accompanied by a seemingly increased desire to connect (or re-connect) with the Lusophone world, eventually informing Lisbon’s self-images as an inclusive and multicultural city. In this process, new forms of ethnicity may gain visibility in the marketing of Luso-world music (or world mu- sic as practiced in the Portuguese-speaking countries). At the ho- rizon of imagined cities as ‘transcultural megacities’, music tends to gain agency in the promotion of senses of place and belonging, in and to the city. Keywords Circulation, symbolic ethnicity, emotional communities, invention of tradition, memory of place, transculturalism. * PhD in Sociology at École des Hautes Études en Sciences Sociales in Paris, As- sociate Researcher at the Instituto de Etnomusicologia, Faculdade de Ciên- cias Sociais e Humanas, Universidade Nova de Lisboa ([email protected]). Migrações _ #7 _ October 2010 139 Music, city, ethnicity: exploring music scenes in Lisbon Jorge de La Barre The processes of the internationalisation of culture within the space of metropo- lis are increasingly visible.1 Likewise, the values transmitted and reflected by the- se processes (cultural diversity and openness, hybridism, transculturalism,...) are increasingly legible. -
Name Synopsis Description Options
DDPINFO(1) ddpinfo Manual DDPINFO(1) NAME ddpinfo − display and export the content of a DDP fileset SYNOPSIS ddpinfo [options] ddpdirectory ddpinfo [--help|--version] DESCRIPTION The ddpinfo command reads DDP filesets and shows its content in human readable form, it also offers to export the DDP as cue/wav image. While mainly focussed at DDP masters describing Red Book audio CDs, other types of DDP filesets should yield some useful output as well. To properly display non-ASCII characters in CD text fields on UNIX-likesystems set your terminal encod- ing to either "UTF-8" or "IS0 8859-1" (i.e. "Latin1"). On Microsoft Windows set the font of the Command Promt windowto"Lucida Console" or "Consolas". If a UPC/EAN code is present, it’schecksum digit will be validated. OPTIONS −y,--verify Search for MD5 and CRC32 checksum files in the DDP directory and use the checksums found to verify the integrity of the DDP fileset. Multiple checksum files will be evaluated one after another. File formats known to be recognized are: md5sum, Pyramix, Sequoia, SADiE (all flavors), Sonoris, DSP Quattro, Wav e Editor.Feel free to contact the author,ifyou encounter an unsup- ported file format. −x, --add-checksum Write MD5 and CRC32 checksum files with checksums for each file which is part of the DDP file- set. If already present the checksum files will be overwritten (CHECKSUM.MD5 and CHECK- SUM.TXT respectively). −e, --expert Showthe content of a DDP fileset in a rather rawformat. Note that this is only useful, if you are familiar with the DDP specification and want to examine broken or flawed masters. -
Starburn CD/DVD/Blu-Ray/HD-DVD Toolkit: Getting Started
StarBurn Software Technical Reference Series StarBurn CD/DVD/Blu-Ray/HD-DVD Toolkit: Getting Started April 18, 2016 StarBurn Software www.starburnsoftware.com Copyright © Rocket Division Software 2001-2016. All rights reserved. Copyright © StarBurn Software 2009-2016. All rights reserved. StarBurn CD/DVD/Blu-Ray/HD-DVD Toolkit: Getting Started Page 1 of 13 StarBurn Software Technical Reference Series INTRODUCTION .................................................................................................. 4 KEY BENEFITS ..................................................................................................... 5 KEY FEATURES .................................................................................................... 7 SUPPORTED PLATFORMS .................................................................................. 11 SYSTEM REQUIREMENTS................................................................................... 12 CONTACTS........................................................................................................ 13 StarBurn CD/DVD/Blu-Ray/HD-DVD Toolkit: Getting Started Page 2 of 13 StarBurn Software Technical Reference Series COPYRIGHT Copyright © Rocket Division Software 2001-2016. All rights reserved. Copyright © StarBurn Software 2009-2016. All rights reserved. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written -
Sonoris DDP Creator 4
Sonoris DDP Creator 4 User’s Manual Copyright © Sonoris Audio Engineering © 2018 [email protected] Table of Contents Introduction ............................................................................................................................... 4 What Is It? .......................................................................................................................................................................................... 4 CD Authoring .................................................................................................................................................................................... 4 DDP Export........................................................................................................................................................................................ 4 DDP Import ....................................................................................................................................................................................... 4 DDP Creator “Pro” Version .......................................................................................................................................................... 4 DDP Creator Features ................................................................................................................. 5 DDP Creator Pro Features ........................................................................................................... 6 Basics and Terminology ............................................................................................................. -
A Tutorial on Stochastic Fdtd
2014 IEEE Antennas and Propagation Society International Symposium Memphis, Tennessee, USA 6-11 July 2014 Pages 1-746 IEEE Catalog Number: CFP14APS-POD ISBN: 978-1-4799-3541-3 1/3 TABLE OF CONTENTS 101: COMPUTATIONAL MODELING OF STOCHASTIC UNCERTAINTY IN ELECTROMAGNETIC COMPONENTS AND SYSTEMS: METHODS AND APPLICATIONS 101.1: A TUTORIAL ON STOCHASTIC FDTD ........................................................................................................................... 1 Steve Smith, Cynthia Furse, University of Utah, United States 101.2: ANALYSIS OF ELECTROMAGNETIC FIELD VARIABILITY IN MAGNETIZED IONOSPHERE .................... 3 PLASMA USING THE STOCHASTIC FDTD METHOD Bach Nguyen, Cynthia Furse, Jamesina Simpson, University of Utah, United States 101.3: APPLICATIONS OF STOCHASTIC FDTD ANALYSIS IN MICROWAVE BREAST IMAGING ................. [URSI] Sathya Ganta, Timothy Colgan, Susan C. Hagness, University of Wisconsin-Madison, United States 101.4: SENSITIVITY OF TMS-INDUCED ELECTRIC FIELDS TO THE UNCERTAINTY IN COIL .............................. 5 PLACEMENT AND BRAIN ANATOMY Luis J. Gomez, Abdulkadir C. Yücel, Luis Hernandez-Garcia, Stephan F. Taylor, Eric Michielssen, University of Michigan, United States 101.5: SENSITIVITY EVALUATION OF MICROWAVE IMAGING SYSTEMS EMPLOYING ....................................... 7 SCATTERING-PARAMETER MEASUREMENTS Kaveh Moussakhani, Justin McCombe, Natalia K. Nikolova, McMaster University, Canada 101.6: A COMPARATIVE STUDY OF FDTD-BASED UNCERTAINTY QUANTIFICATION METHODS ............. [URSI] -
A Study of Macanese Music Through Tuna Macaense Group in a Postcolonial Perspective (1935-2017)
Universidade de Aveiro Departamento de Comunicação e Arte 2018 CHAN SI MAN A STUDY OF MACANESE MUSIC THROUGH TUNA MACAENSE GROUP IN A POSTCOLONIAL PERSPECTIVE (1935-2017) UM ESTUDO DA MÚ SICA MACAENSE ATRAVÉ S DO AGUPAMENTO A TUNA MACAENSE NA PERSPECTIVA PÓ SCOLONIAL (1935-2017) Dissertation presented to the University of Aveiro to fulfill the requirements for obtaining the Master in Music – Musicology, carried out under the scientific guidance of Doctor Susana Bela Soares Sardo, assistant Professor of Department of Communication and Art of the University of Aveiro Jury Presidente Doutor Jorge Manuel de Mansilha Castro Ribeiro Professor Auxiliar, Universidade de Aveiro Vogais Doutora Ana Flávia Miguel (arguente) Investigadora, Inet-MD Instituto de Etnomusicologia – Centro de Estudos em Música e Dança Doutora Susana Bela Soares Sardo (orientadora) Professora Associada, Universidade de Aveiro 1 Acknowledgement I feel thankful that I was born in Macau and raised in the area where full of the Portuguese-Macanese ambience especially I was raised in a Catholic family that provides me a true value of life. These also have been nurturing my interest to the Portuguese-Macanese culture and encouraged me to make a study to explore not only one of the most important cultures in Macau, but also the suzerain of Macau, Portugal. During the life in Portugal, I feel thankful that I gained life experiences which made me grow up a lot and to see how great the world is. This will become my good memory and it will be in my heart forever. I would like to thank for my parents who give me the best support all the time even I stay apart from them so far and they had been waiting for me to finish my studies unconditionally. -
2Nd International Folk Music Film Festival Catalogue 2012
Dedications The 3 days of International Folk Music Film Festival –Nepal 2012 will each be dedicated to different people who have devoted a considerable portion of their life’s work to the promotion, documentation and preservation of traditional musicians and associated artists, their music and music culture. They are John Baily and Veronica Doubleday, UK, Les Blank, USA and Ramsaran Darnal (1937–2011) from Nepal. John Baily & Veronica Doubleday, Ethnomusicologists, Musicians and Writers, husband and wife John and Veronica frequently perform together in concert and often with noted Afghan musicians. They have dedicated their life’s work to the people and music of Afghanistan and have supported Afghan musicians and their families throughout the prolonged conflicts. John Baily, Emeritus Professor, Goldsmiths, London University, began his ethnomusicological work in Afghanistan in 1973 also becoming a skilled musician particularly on the Afghan rubab and dutar. Prior to this he had learnt tabla with Krishna Govinda on an extended visit to Kathmandu in 1971. From 1984-5 John trained in anthropological filmmaking and directed the award-winning film Amir: An Afghan Refugee Musician’s life in Peshawar, Pakistan. He is the author of many articles and book chapters and has recently published Songs from Kabul: The Spiritual Music of Ustad Amir Mohammed. John is presently helping to develop The Afghanistan National Institute of Music. Veronica Doubleday, visiting lecturer, the University of alone from Folk Alliance International and from the International Brighton. Veronica’s ethnomusicological work focuses on Afghan Documentary Association. music, women’s music and gender issues and she has published Native filmmaker, Samrat Kharel, has written, “Les Blank’s films many articles on these subjects. -
Aragón and Valencia
ARAGÓN AND VALÈNCIA Aragón and València “The jota is at its best with the scent of rosemary and fresh-plowed earth,” says the opening song on this CD. An infectious collection of danced and sung jotas, archaic threshing songs, May courting songs, struck zither tunes, raucous shawms and lyrical strings, travelling down from the mountains of Aragón to the fertile coast of València. The Spanish Recordings Alan Lomax made these historic recordings in 1952 while traveling for months through Spanish villages, under formidable physical and political circumstances, during the Franco regime. Covering the breadth of Spain, these songs and dance melodies constitute a portrait of rural Spain’s richly varied musical life, dispelling the common stereotypes of Spanish folk music. The Alan Lomax Collection The Alan Lomax Collection gathers together the American, European, and Caribbean field recordings, world music compilations, and ballad operas of writer, folklorist, and ethnomusicologist Alan Lomax. Recorded in 1952 by Alan Lomax. Introductions and notes by Luis Bajén García and Mario Gros Herrero (Aragón), Archivo de Tradición Oral de Aragón (ATOA); and Josemi Sánchez Velasco (València), Consellería de Cultura, Educació i Ciència, Generalitat de València. Series Editor, Judith R. Cohen, Ph.D. Remastered to 24-bit digital from the original field recordings. Contains previously unreleased recordings. Aragón 1. AL REGRESO DEL CAMPO (Work jota) Teruel (2:19) 2. A LAS ORILLAS DEL RÍO (Danced jota) Teruel (2:30) 3. JOTA HURTADA (“Stolen” jota) Albarracín (1:08) 4. MAYOS DE ALBARRACÍN (May courting verses) Albarracín (2:53) 5. SE ME OLVIDAN LOS RAMALES (Jota for plowing) Monreal del Campo (0:50) 6. -
Documenting Nepalese Musical Traditions
DOCUMENTING NEPALESE MUSICAL TRADITIONS Gert-Matthias We g n e r This paper gives a brief but updated account of the fieldwork car- ried out by ethnomusicologists in Nepal with some information on the re c o rded and published material. The re c e n t l y-founded (1996) Kathmandu University Department of Music in Bhaktapur is in the process of establishing a sound archives for Nepalese musical tradi- tions. The department has already published two CDs with Sherpa dance-songs from the Everest region. CD cover: ‘Music of the Sherpa People of Nepal’ (vol.1) published by Eco Himal Little Star Records. Photograph courtesy Gert-Matthias Wegner. Bhucha and betal dancers during a performance in Bhaktapur, 1988. Newar farmers playing bansri and dhimay during Biskit jatra in Bhaktapur. Newar farmers playing bansri and dhimay during Biskit jatra in Bhaktapur. Photographs courtesy Gert- Matthias Wegner. Nepalese Musical Tr a d i t i o n s 233 Until 1951, Nepal had been closed to the rest of the world for s e veral hundred years. The use of the wheel was restricted to ritual purposes. The only school in the country was reserved for members of the ruling Rana aristocracy who pursued a lifestyle similar to the Nawabs of Lucknow. The unique topography of Nepal (with 20 mil- lion inhabitants) helped preserve an extremely rich variety of ethnic g roups (speaking 36 languages) and their musical traditions on a t e rritory half the size of Germany. Despite natural and imposed restrictions on travel, there have been periods of exchange with Indian musical traditions, some of which were modified to local needs and inspired the unique musical culture of the Newar people of the Kathmandu Valley which arguably is the most complex musical tradi- tion in the entire Himalayas.