DOCSLIB.ORG

Musicbrainz for the World: the Chilean Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MUSICBRAINZ FOR THE WORLD: THE CHILEAN EXPERIENCE Gabriel Vigliensoni1, John Ashley Burgoyne2, and Ichiro Fujinaga1 1 CIRMMT 2 ILLC McGill University University of Amsterdam Canada The Netherlands [gabriel,ich]@music.mcgill.ca [email protected] ABSTRACT 1.1 Music Metadata Metadata is structured information that identifies, describes, In this paper we present our research in gathering data from locates, relates, and expresses several, different layers of several semi-structured collections of cultural heritage— data about an information resource [3, 5, 8]. It can be of Chilean music-related websites—and uploading the data three basic types: descriptive, for purposes such as iden- into an open-source music database, where the data can be tification and discovery; structural, for expressing rela- easily searched, discovered, and interlinked. This paper tions among resources; and administrative, for managing also reviews the characteristics of four user-contributed, resources [8]. Descriptive music metadata commonly pro- music metadatabases (MusicBrainz, Discogs, MusicMoz, vides information about recordings, expressing the song and FreeDB), and explains why we chose MusicBrainz as title and length, the artist name, and the release name of a the repository for our data. We also explain how we col- musical object, usually stored in a MP3 ID3 tag. Structural lected data from the five most important sources of Chilean music metadata is used to document relationships within music-related data, and we give details about the context, and among digital musical objects to allow navigation, such design, and results of an experiment for artist name com- as the song’s order in an album or a playlist, linking song parison to verify which of the artists that we have in our names to video clips, artists to their biographies, and so database exist in the MusicBrainz database already. Al- on. Administrative music metadata can include informa- though it represents a single case study, we believe this tion such as software and hardware used to digitize the information will be of great help to other MIR researchers musical resource, system requirements to read the files, use who are trying to design their own studies of world music. restrictions or license agreements that constrain the use of the resource. Thus, music metadata has been called a dig- ital music commodity because it adds value to the musical 1. INTRODUCTION objects, mediating the experience of listeners with music and artists, helping them to browse, explore, sort, collect, Thousands of commercial and non-commercial websites use, and finally enjoy music [4, 7]. offer information and metadata about different aspects of For this project, we collected data about Chilean mu- music and artists, for example, their recordings, biogra- sic from several websites and databases of different scope phies, discographies, video clips, and other resources. How- and size. 1 Centralizing and interlinking these resources ever, the data they provide is often disorganized and not should create synergies in the data because one single query interlinked, and the websites disappear frequently. Hence, will give access to all resources, creating relations that were it is likely that the information collected over years can be not established in their previous locations, thus contribut- lost. It seems sensible to gather all music-related data in a ing to a larger web of data. Hence, finding the best repos- centralized database that can be accessed by several web- itory capable in storing and expressing these data relation- sites or systems. The goal of our project is to take data ships was considered significant and crucial for the success from several semi-organized collections of Chilean-music of our endeavour. cultural heritage—websites and databases which combined represent almost all music that has been composed and per- 1.2 Music-Related Metadatabases formed in Chile—and integrate it into an open-source mu- Although there are many commercial, professionally re- sic database, where information is easy to search and will viewed, online music libraries, we focused only on user- last for a longer time. built, open-data, music metadatabases. By contrast to com- mercial libraries, open databases provide user-access to en- Permission to make digital or hard copies of all or part of this work for ter data and have similar types of licenses for the use of its personal or classroom use is granted without fee provided that copies are data as the Chilean websites. We present now a list of the not made or distributed for profit or commercial advantage and that copies main services available for free, public use in terms of their bear this notice and the full citation on the first page. 1 Data from all databases available at c 2013 International Society for Music Information Retrieval. http://www.vigliensoni.com/McGill/BDMC/8_DATA Scope Size Information Relations IDs Data Language API Other resources stored quality guidelines assurance FreeDB CD tracklists ∼2M albums Album, title, year, Disc to genre FreeDB Unspecified No No Limited search genre, time offsets propriety automatic engine. Small, fixed Disc-ID method set of genres. Two artists can have the same ID. MusicMoz Music-related factual >136K items Artist’s biographies, No relations Artist MusicMoz’s No No Many links are no data and Internet discographies, allowed name- authorized longer available. links profile, reviews, and based editors Unusual ontology of articles. URI musical categories. Music-related links and resources Discogs Physical >2M artists Artist, release, Small set of Artist Community- English RESTful, 30s previews. Well discographies and >3M albums master, label, image relations name- based only XML- designed solution for music releases based high- based artist name variation. URI quality API Marketplace data available. Could evolve to a commercial site. MusicBrainz Any kind of music >600K artists Core entities (artist, Advanced MB IDs are Community- Guidelines RESTful, MB links data from release >1M releases label, recording, Relationships universally based for 30 XML- all other >11M tracks release, can be unique high- languages based metadatabases. release-group, expressed for identifier quality API MB’s Advanced work), entities, and all core and (UUID) data Relationships can be their relationships external entities mapped into RDF. MB stores acoustic fingerprints. Table 1. Comparison of free, user-built, open-data, music metadatabases: FreeDB, MusicMoz, Discogs, and MusicBrainz. scope, size, stored information resources, relations among as well as for providing efficient ways of managing and these resources, ID system, data quality and assurance, lan- interlinking them. For example, the MusicBrainz univer- guage guidelines, and API. sal unique identifier-based IDs (MBIDs) practically ensure unique identifiers for all its core entities (i.e., artist, la- FreeDB is a license-free database of CDs track-listings bel, recording, release, release-group, and work), and they from user-contributed data, originally based on the Com- have been already widely used for linking music data in the pact Disc Database (CDDB). 2 semantic-web community. Furthermore, the MusicBrainz community decided to develop a set Advanced Relation- MusicMoz is a user-contributed database that stores music- ships to describe relations between its core entities, and to 3 related, factual data and Internet links. publish all the MusicBrainz database, resources and their Discogs is a large, user-populated database of discogra- relationships, as Linked Data. The recently-finished Linked- 6 phies and music releases from physical sources. It pro- Brainz subproject was intended to map all these rela- vides data of high quality that is ensured by a strict in- tionships into RDF [6]. MusicBrainz also stores acous- put form mechanism and a large community of users. 4 tic fingerprints (PUIDs) that can be used to search for a resource even if its descriptive metadata is not available. MusicBrainz is a large, community-based, user-contribu- Users, as well as performance right organizations, could ted metadatabase that stores the three aforementioned benefit from this feature for music rights identification pur- types of metadata for any kind of music release. Its poses. Moreover, MusicBrainz has also a strict, language- high-quality database is managed by an open commu- specific, style guidelines for 30 different languages, which nity of non-professionals that negotiate periodically and explain how data should be formatted in their database. consistently, with strict standards and routines, about This fact is very important to this project—and also to the orientations, developments, style guidelines, and other similar projects coming from countries and regions mostly everything on MusicBrainz [4]. 5 where English is not the primary language—because it al- lows, and forces, the non-English-speaking users to fol- Table 1 shows a comparison of the four metadatabases. low the correct standard for their language. Finally, Mu- It can be seen that, among all these databases, MusicBrainz sicBrainz is the most “open” of the four reviewed meta- is the database with the broadest scope, not being restricted databases because it provides methods to link data from to only physical copies, as in the case of Discogs, or CDs, other websites and databases to MusicBrainz (e.g., by ex- as in FreeDB. Also, MusicBrainz is the only music database tracting CD track lists from FreeDB, linking artists’ images capable of storing not only descriptive, but also structural from Discogs, data from MusicMoz, Allmusic, BBC Music and administrative metadata. This fact is critical for ex- and Wikipedia; or album covers and videos from Amazon pressing the many relationships among musical resources, and YouTube, respectively). 2 http://www.freedb.org/ 3 http://www.musicmoz.org/ 4 http://www.discogs.com/ 5 http://www.musicbrainz.org/ 6 http://wiki.musicbrainz.org/LinkedBrainz By analyzing all the aforementioned characteristics, we Mus (MUS) is a website devoted to new album and con- decided to work with the MusicBrainz metadatabase in or- cert reviews.
Recommended publications
  • The Kid3 Handbook

    The Kid3 Handbook

    The Kid3 Handbook Software development: Urs Fleisch The Kid3 Handbook 2 Contents 1 Introduction 11 2 Using Kid3 12 2.1 Kid3 features . 12 2.2 Example Usage . 12 3 Command Reference 14 3.1 The GUI Elements . 14 3.1.1 File List . 14 3.1.2 Edit Playlist . 15 3.1.3 Folder List . 15 3.1.4 File . 16 3.1.5 Tag 1 . 17 3.1.6 Tag 2 . 18 3.1.7 Tag 3 . 18 3.1.8 Frame List . 18 3.1.9 Synchronized Lyrics and Event Timing Codes . 21 3.2 The File Menu . 22 3.3 The Edit Menu . 28 3.4 The Tools Menu . 29 3.5 The Settings Menu . 32 3.6 The Help Menu . 37 4 kid3-cli 38 4.1 Commands . 38 4.1.1 Help . 38 4.1.2 Timeout . 38 4.1.3 Quit application . 38 4.1.4 Change folder . 38 4.1.5 Print the filename of the current folder . 39 4.1.6 Folder list . 39 4.1.7 Save the changed files . 39 4.1.8 Select file . 39 4.1.9 Select tag . 40 The Kid3 Handbook 4.1.10 Get tag frame . 40 4.1.11 Set tag frame . 40 4.1.12 Revert . 41 4.1.13 Import from file . 41 4.1.14 Automatic import . 41 4.1.15 Download album cover artwork . 42 4.1.16 Export to file . 42 4.1.17 Create playlist . 42 4.1.18 Apply filename format . 42 4.1.19 Apply tag format .
  • Release 3.5.3

    Release 3.5.3

    Ex Falso / Quod Libet Release 3.5.3 February 02, 2016 Contents 1 Table of Contents 3 i ii Ex Falso / Quod Libet, Release 3.5.3 Note: There exists a newer version of this page and the content below may be outdated. See https://quodlibet.readthedocs.org/en/latest for the latest documentation. Quod Libet is a GTK+-based audio player written in Python, using the Mutagen tagging library. It’s designed around the idea that you know how to organize your music better than we do. It lets you make playlists based on regular expressions (don’t worry, regular searches work too). It lets you display and edit any tags you want in the file, for all the file formats it supports. Unlike some, Quod Libet will scale to libraries with tens of thousands of songs. It also supports most of the features you’d expect from a modern media player: Unicode support, advanced tag editing, Replay Gain, podcasts & Internet radio, album art support and all major audio formats - see the screenshots. Ex Falso is a program that uses the same tag editing back-end as Quod Libet, but isn’t connected to an audio player. If you’re perfectly happy with your favorite player and just want something that can handle tagging, Ex Falso is for you. Contents 1 Ex Falso / Quod Libet, Release 3.5.3 2 Contents CHAPTER 1 Table of Contents Note: There exists a newer version of this page and the content below may be outdated. See https://quodlibet.readthedocs.org/en/latest for the latest documentation.
  • Mysteries of CD Text Explained

    Mysteries of CD Text Explained

    Summit Sound Inc. - Mysteries of CD Text explained: There are 2 types of “CD text”information currently in common usage: 1. CD Text : Actual CD Text is an extension of the Red Book Compact Disc specifications standard for audio CDs. It allows for storage of additional information (e.g. album name, song name, and artist) on a standards-compliant audio CD. The information is stored either in the lead- in area of the CD, where there is roughly five kilobytes of space available, or in the Subchannels R to W on the disc, which can store about 31 megabytes. These areas are not used by strict Red Book CDs. The text is stored in a format usable by the Interactive Text Trans - mission System (ITTS). ITTS is also used by Digital Audio Broadcasting or the MiniDisc. The specification was released in September 1996 and backed by Sony. Support for CD-Text is common, but not universal. Utilities or plug-ins exist to automatically rip CD-Text data, and insert it into CDDB or freedb. • Windows Media Player 10 and 11 with the WMPCDText plug-in support reading CD-Text. • iTunes 7 supports burning with CD Text. It is by default an unchecked option in the burning preferences - but requires a compatible burner that also supports CD text. • Toast on Mac OS X also has support for reading and writing CD-Text. • Nero for the PC can also read CD text New versions of i-Tunes (7 and up) may write CD text, but may not always read it (sometimes using a different - ie.
  • I Manual for Cdex 1.40: a CD Extraction Utility

    I Manual for Cdex 1.40: a CD Extraction Utility

    Manual for CDex 1.40: A CD extraction utility Albert L Faber March 2002 i Contents Introduction .........................................................................................................1 System Requirements.......................................................................................................... 1 Status of CDex..................................................................................................................... 1 Acknowledgements.............................................................................................................. 1 Change log .......................................................................................................................... 1 Installing CDex ....................................................................................................4 How to uninstall CDex.......................................................................................................... 4 A Quick Tour........................................................................................................5 How to get started................................................................................................................ 5 Digital Audio Technology...................................................................................7 What is CDDA or DAE:......................................................................................................... 7 The purpose of audio compression:.....................................................................................
  • Modeling Musical Influence Through Data

    Modeling Musical Influence Through Data

    Modeling Musical Influence Through Data The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:38811527 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Modeling Musical Influence Through Data Abstract Musical influence is a topic of interest and debate among critics, historians, and general listeners alike, yet to date there has been limited work done to tackle the subject in a quantitative way. In this thesis, we address the problem of modeling musical influence using a dataset of 143,625 audio files and a ground truth expert-curated network graph of artist-to-artist influence consisting of 16,704 artists scraped from AllMusic.com. We explore two audio content-based approaches to modeling influence: first, we take a topic modeling approach, specifically using the Document Influence Model (DIM) to infer artist-level influence on the evolution of musical topics. We find the artist influence measure derived from this model to correlate with the ground truth graph of artist influence. Second, we propose an approach for classifying artist-to-artist influence using siamese convolutional neural networks trained on mel-spectrogram representations of song audio. We find that this approach is promising, achieving an accuracy of 0.7 on a validation set, and we propose an algorithm using our trained siamese network model to rank influences.
  • Transferring Old Records & Tapes Onto CD / Hard Disk What Is Sound?

    Transferring Old Records & Tapes Onto CD / Hard Disk What Is Sound?

    Transferring Old Records & Tapes onto CD / Hard Disk What is sound? Sounds are pressure waves of air. If there wasn't any air, we wouldn't be able to hear sounds. There's no sound in space. We hear sounds because our ears are sensitive to these pressure waves. Perhaps the easiest type of sound wave to understand is a short, sudden event like a clap. When you clap your hands, the air that was between your hands is pushed aside. This increases the air pressure in the space near your hands, because more air molecules are temporarily compressed into less space. The high pressure pushes the air molecules outwards in all directions at the speed of sound, which is about 340 meters per second. When the pressure wave reaches your ear, it pushes on your eardrum slightly, causing you to hear the clap. When you ring a bell, after the initial strike (which is a little like a hand clap), the sound comes from the vibration of the bell. While the bell is still ringing, it vibrates at a particular frequency, depending on the size and shape of the bell, and this causes the nearby air to vibrate with the same frequency. This causes pressure waves of air to travel outwards from the bell, again at the speed of sound. ! ! Transferring Old Records & Tapes onto CD / Hard Disk How is sound recorded? A microphone consists of a small membrane that is free to vibrate, along with a mechanism that translates movements of the membrane into electrical signals. (The exact electrical mechanism varies depending on the type of microphone.) So acoustical waves are translated into electrical waves by the microphone.
  • Photovoice Brochure

    Photovoice Brochure

    Different but equal… exploring cultural diversity within Deloitte A participatory-photography project conducted by Dr. Maria Quinlan, University College Dublin Different but equal… exploring cultural diversity within Deloitte A participatory-photography project conducted by Dr. Maria Quinlan, University College Dublin Contents Foreword 01 Project design and methodology 02 Findings 1. Inclusion, belonging and home 07 2. Challenges – dislocation and otherness assumptions 23 3. Opportunities – Deloitte and Ireland 41 Appendices Ethics and safety 55 Acknowledgements 56 Participants 57 02 Different but equal… exploring cultural diversity within Deloitte A participatory-photography project conducted by Dr. Maria Quinlan, University College Dublin Foreword We began this project unsure what we might find out. Do people from outside Ireland feel included? If they don’t, what will it take to resolve that? What does an inclusive workplace mean? The participants have been so open and shared their deepest personal experiences. What really stood out for me personally were the stories people shared about themselves. It is so easy to group and categorise people, but through their photos we see the individual shine through: their personal experiences, their hopes, their struggles and their desire to be part of Deloitte and At Deloitte, we aspire to offer the most its future. I was also delighted to see how inclusive workplace in Ireland for our much positivity shone through in terms of people. We know from the research that the opportunities people feel they have having real diversity, people with different both in Ireland and at Deloitte. backgrounds, perspectives, beliefs and ways of thinking and working together, I wish to thank each of them for their leads to better decisions and solutions.
  • JOE HILL; IWW SONGWRITER the Truth About "The Man Who Never Died ": $1.00

    JOE HILL; IWW SONGWRITER the Truth About "The Man Who Never Died ": $1.00

    PREAMBLE OF THE INDUSTRIAL WORKERS OF THE WORLD The working class and the employing class have nothing in common. There can he no peace so long as hunger and wa nt are found among millions of working people and the few , who make up the employing class, have all the good things of life. Between these two classes a struggle must go on until the wo rk ­ ers of the world organize as a class, take pos~e~sion of the earth and the machinery of production. and abolish the wage system. We find that the centering of the management of ind ustries in­ to fewe r and fewer hands makes the trade un ions unable to cope with the ever growing power of the employing class. The trade unio ns foster a state of affairs which all ows one set of work ers to be pitted aga inst another set of workers in the sa me industry. thereby helping defeat one another in wage wars. Moreover, the trade unions aid the employing class to mislead the workers into the belief that the working class have interests in common with their employers. These conditions can be changed and the interest of the work­ ing class upheld only by an organization formed in such a way that all its members in any one industry. or in all industries if necessary, cease work whenever a strike or lockout is on in any department thereof, thus making an injury to one an inj ury to all . Instead of the conservative motto, '"A fair day's wage for a fair day's work ," we must inscribe on our banner the revolutiona ry watchword , "Abolition of the wage system." It is the historic mission of the working class to do away with capitalism.
  • Fedora 14 User Guide

    Fedora 14 User Guide

    Fedora 14 User Guide Using Fedora 14 for common desktop computing tasks Fedora Documentation Project User Guide Fedora 14 User Guide Using Fedora 14 for common desktop computing tasks Edition 1.0 Author Fedora Documentation Project [email protected] Copyright © 2010 Red Hat, Inc. and others. The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at http://creativecommons.org/licenses/by-sa/3.0/. The original authors of this document, and Red Hat, designate the Fedora Project as the "Attribution Party" for purposes of CC-BY-SA. In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version. Red Hat, as the licensor of this document, waives the right to enforce, and agrees not to assert, Section 4d of CC-BY-SA to the fullest extent permitted by applicable law. Red Hat, Red Hat Enterprise Linux, the Shadowman logo, JBoss, MetaMatrix, Fedora, the Infinity Logo, and RHCE are trademarks of Red Hat, Inc., registered in the United States and other countries. For guidelines on the permitted uses of the Fedora trademarks, refer to https://fedoraproject.org/wiki/ Legal:Trademark_guidelines. Linux® is the registered trademark of Linus Torvalds in the United States and other countries. Java® is a registered trademark of Oracle and/or its affiliates. XFS® is a trademark of Silicon Graphics International Corp. or its subsidiaries in the United States and/or other countries.
  • Linux – Das Umfassende Handbuch 1.430 Seiten, Gebunden, Mit CD, 14

    Linux – Das Umfassende Handbuch 1.430 Seiten, Gebunden, Mit CD, 14

    Know-howWissen, wie’s für geht. Kreative. Leseprobe In dieser Leseprobe erhalten Sie einen Einstieg in die Linux-Welt und erfahren, wie Sie Audio und Video unter Linux nutzen. Dar- über hinaus lernen Sie die Kommandozentrale kennen: die Shell. Außerdem können Sie einen Blick in das vollständige Inhalts- und Stichwortverzeichnis des Buches werfen. »Was ist Linux?« »Installationsgrundlagen« »Audio und Video« »Die Shell« »Software- und Paketverwaltung« Inhaltsverzeichnis Index Der Autor Leseprobe weiterempfehlen Michael Kofler Linux – Das umfassende Handbuch 1.430 Seiten, gebunden, mit CD, 14. Auflage 2015 49,90 Euro, ISBN 978-3-8362-3775-8 www.rheinwerk-verlag.de/3855 “buch” — 2015/11/5 — 21:54 — page 25 — #19 1 Kapitel 1 Was ist Linux? Um die einleitende Frage zu beantworten, erkläre ich in diesem Kapitel zuerst einige wichtige Begriffe, die im gesamten Buch immer wieder verwendet werden: Betriebs- system, Unix, Distribution, Kernel etc. Ein knapper Überblick über die Merkmale von Linux und die verfügbaren Programme macht deutlich, wie weit die Anwendungs- möglichkeiten von Linux reichen. Es folgt ein kurzer Ausflug in die Geschichte von Linux: Sie erfahren, wie Linux entstanden ist und auf welchen Komponenten es basiert. Von zentraler Bedeutung ist dabei natürlich die General Public License (kurz GPL), die angibt, unter welchen Bedingungen Linux weitergegeben werden darf. Erst die GPL macht Linux zu einem freien System, wobei »frei« mehr heißt als einfach »kostenlos«. 1.1 Einführung Linux ist ein Unix-ähnliches Betriebssystem. Der wichtigste Unterschied gegenüber historischen Unix-Systemen besteht darin, dass Linux zusammen mit dem vollstän- digen Quellcode frei kopiert werden darf. Ein Betriebssystem ist ein Bündel von Programmen, mit denen die grundlegend- Betriebssystem sten Funktionen eines Rechners realisiert werden: die Schnittstelle zwischen Mensch und Maschine (also konkret: die Verwaltung von Tastatur, Bildschirm etc.) und die Verwaltung der Systemressourcen (CPU-Zeit, Speicher etc.).
  • Yosano Akiko's Princess Saho and Its Multiple Speakers

    Yosano Akiko's Princess Saho and Its Multiple Speakers

    WASEDA RILAS JOURNAL NO. 8 特集 5 特集 5 RILAS 研究部門「創作と翻訳の超領域的研究」 Yosano Akiko’s Princess Saho and its Multiple Speakers Janine BEICHMAN Abstract To translate is to interpret, and this is especially so for a difficult poet like Yosano Akiko. The translator con- fronting the task of interpreting the stupendous number of poems that Yosano Akiko (1878-1942) published over the course of her career begins, of course, by looking into the biographical background and reading as many com- mentaries as possible, but often that is not enough. Then come such avenues of inquiry as comparing iterations of the same themes within the corpus of the poetry itself, picking up echoes of Japanese classical and other litera- tures, and noting connections to Western literature, art, and ideas. In working with the poems here, I have used all these avenues. There is also one other approach, and that is to cycle between Akiko’s prose and her poetry. She often touched on the same topic and themes in both genres, sometimes using the prose to explain the poetry and even vice versa. The essay “Bosei Henchō wo Haisu” (I oppose the glorification of motherhood, 1916) is usually considered only in terms of its role in the public debate on the protection of motherhood (bosei hogo ronsō) that Akiko car- ried on in the media between 1916 and 1919, but it also provides a good background for reading her poetry. This is because Akiko explains her criticism of the glorification of motherhood by eloquently articulating her concep- tion of the self as multi-focal, a conception which in a certain sense is the philosophical counterpart of the multiple speakers that populate her poems.
  • Pipenightdreams Osgcal-Doc Mumudvb Mpg123-Alsa Tbb

    Pipenightdreams Osgcal-Doc Mumudvb Mpg123-Alsa Tbb

    pipenightdreams osgcal-doc mumudvb mpg123-alsa tbb-examples libgammu4-dbg gcc-4.1-doc snort-rules-default davical cutmp3 libevolution5.0-cil aspell-am python-gobject-doc openoffice.org-l10n-mn libc6-xen xserver-xorg trophy-data t38modem pioneers-console libnb-platform10-java libgtkglext1-ruby libboost-wave1.39-dev drgenius bfbtester libchromexvmcpro1 isdnutils-xtools ubuntuone-client openoffice.org2-math openoffice.org-l10n-lt lsb-cxx-ia32 kdeartwork-emoticons-kde4 wmpuzzle trafshow python-plplot lx-gdb link-monitor-applet libscm-dev liblog-agent-logger-perl libccrtp-doc libclass-throwable-perl kde-i18n-csb jack-jconv hamradio-menus coinor-libvol-doc msx-emulator bitbake nabi language-pack-gnome-zh libpaperg popularity-contest xracer-tools xfont-nexus opendrim-lmp-baseserver libvorbisfile-ruby liblinebreak-doc libgfcui-2.0-0c2a-dbg libblacs-mpi-dev dict-freedict-spa-eng blender-ogrexml aspell-da x11-apps openoffice.org-l10n-lv openoffice.org-l10n-nl pnmtopng libodbcinstq1 libhsqldb-java-doc libmono-addins-gui0.2-cil sg3-utils linux-backports-modules-alsa-2.6.31-19-generic yorick-yeti-gsl python-pymssql plasma-widget-cpuload mcpp gpsim-lcd cl-csv libhtml-clean-perl asterisk-dbg apt-dater-dbg libgnome-mag1-dev language-pack-gnome-yo python-crypto svn-autoreleasedeb sugar-terminal-activity mii-diag maria-doc libplexus-component-api-java-doc libhugs-hgl-bundled libchipcard-libgwenhywfar47-plugins libghc6-random-dev freefem3d ezmlm cakephp-scripts aspell-ar ara-byte not+sparc openoffice.org-l10n-nn linux-backports-modules-karmic-generic-pae