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Automatic Recognition of Samples in Musical Audio
Automatic Recognition of Samples in Musical Audio Jan Van Balen MASTER THESIS UPF / 2011 Master in Sound and Music Computing. Supervisors: PhD Joan Serr`a,MSc. Martin Haro Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona Acknowledgement I wish to thank my supervisors Joan Serr`aand Martin Haro for their priceless guidance, time and expertise. I would also like to thank Perfecto Herrera for his very helpful feedback, my family and classmates for their support and insightful remarks, and the many friends who were there to provide me with an excessive collection of sampled music. Finally I would like to thank Xavier Serra and the Music Technology Group for making all this possible by accepting me to the master. Abstract Sampling can be described as the reuse of a fragment of another artist's recording in a new musical work. This project aims at developing an algorithm that, given a database of candidate recordings, can detect samples of these in a given query. The problem of sample identification as a music information retrieval task has not been addressed before, it is therefore first defined and situated in the broader context of sampling as a musical phenomenon. The most relevant research to date is brought together and critically reviewed in terms of the requirements that a sample recognition system must meet. The assembly of a ground truth database for evaluation was also part of the work and restricted to hip hop songs, the first and most famous genre to be built on samples. Techniques from audio fingerprinting, remix recognition and cover detection, amongst other research, were used to build a number of systems investigating different strategies for sample recognition. -
![RZA on the Soul of Music [EXCLUSIVE SOULHEAD INTERVIEW] @RZA @Erickablount January 8, 2015](https://docslib.b-cdn.net/cover/9414/rza-on-the-soul-of-music-exclusive-soulhead-interview-rza-erickablount-january-8-2015-1659414.webp)
RZA on the Soul of Music [EXCLUSIVE SOULHEAD INTERVIEW] @RZA @Erickablount January 8, 2015
• FEATURES • INTERVIEWS • PRINCE • AUDIO • VIDEO • EVENTS • ABOUT • SHOP • FEATURES o • INTERVIEWS • PRINCE o • AUDIO o • VIDEO o • EVENTS o o • ABOUT o o o • SHOP 0 Everybody is Talking About the Good Ole Days: RZA on the Soul of Music [EXCLUSIVE SOULHEAD INTERVIEW] @RZA @ErickaBlount January 8, 2015 . Everybody is Talking About the Good Ole Days: RZA on the Soul of Music by Ericka Blount Danois If hip-hop tours, white appropriation, anniversary celebrations, books and hip-hop documentaries aren’t an indication that hip-hop has reached the status of Beatles-style nostalgia and reverence, then releasing a Wu-Tang Clan 20th anniversary reunion album, A BetterTomorrow, is solid proof that the genre has officially arrived. RZA, always the heart of the operation, worked tirelessly to round up the troops and dissolve beefs for the reunion album that dropped Dec. 2, 2014. “I wanted to make a record that pays homage to soul music and hip-hop,” he said about the making of this album. “I went to the past to make something for the future.” RZA came out of his own pockets to fund the album to the tune of half a million dollars. Some of the best in the industry are featured on the album—Rick Rubin, Adrian Younge, David Porter, Kenny Gamble and Rob Cavallo, all had their hands in the pot. Wu-Tang has always done things big and with vision. RZA led the 9-member group to an unprecedented label deal where each member was able to launch solo records. The deal allowed them to become the most revolutionary rap group of the mid-’90s releasing five group and 19 compilation albums totaling over 6 platinum records and over 40 million sold. -
Method Man, Protect Ya Neck (The Jump Off)
Method Man, Protect Ya Neck (The Jump Off) [INS] Ladies and gentlemen, we'd like to welcome to you All the way from the slums of Shaolin Special uninvited guests Came in through the back door Ladies and gentlemen, it's them! Dance with the mantis, note the slim chances Chant this, anthem swing like Pete Sampras Takin it straight to Big Man On Campus Brandish your weapon or get dropped to the canvas Scandalous, made the metro panic Cause static, with or without the automatic And while I'm at it, yo, you got cash, pass it It's drastic, gotta send half to Dirty Bastard [Raekwon] Ayo, ayo Waves is spinnin, blades is spinnin Slay em in the eighth inning Stay truck, god stay playin linen Kill rap, observe the uptowns, ho, feel that Mink jeans on, seen where the real at 2000 zitos, movin wit a ill ego For real, for real, ill lines, ill people Yo, bring it back, 9 more civilians Pollyin deals, monopoly and bills Y'all niggas lyin Caught 300, lab look royal wit a mean stomach Go broke, all seen, done it Words from the heavy set If I don't eat, then we already met Fly ass bro, liver than coke [Meth] Now what Clan you know wit lines this ill? Bust shots at Big Ben like we got time to kill Niggas can't gel or I'm just too high to tell Put on my gasoline boots and walk through hell Wit 9 generals, 9 ninjas in your video 9 milli blow, semi auto wit no serial Man metaphysical, I speak for criminals Who don't pay they bills on time and fuck wit digital Never seen, smoke a bag of evergreen My sword got a jones, more heads for the severing Johnny in the -
"Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Now I Ain't Sayin' She's a Gold Digger": African American Femininities in Rap Music Lyrics Jennifer M. Pemberton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF SOCIAL SCIENCES “NOW I AIN’T SAYIN’ SHE’S A GOLD DIGGER”: AFRICAN AMERICAN FEMININITIES IN RAP MUSIC LYRICS By Jennifer M. Pemberton A Dissertation submitted to the Department of Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2008 The members of the Committee approve the dissertation of Jennifer M. Pemberton defended on March 18, 2008. ______________________________ Patricia Yancey Martin Professor Directing Dissertation ______________________________ Dennis Moore Outside Committee Member ______________________________ Jill Quadagno Committee Member ______________________________ Irene Padavic Committee Member Approved: ___________________________________ Irene Padavic, Chair, Department of Sociology ___________________________________ David Rasmussen, Dean, College of Social Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother, Debra Gore, whose tireless and often thankless dedication to the primary education of children who many in our society have already written off inspires me in ways that she will never know. Thank you for teaching me the importance of education, dedication, and compassion. For my father, Jeffrey Pemberton, whose long and difficult struggle with an unforgiving and cruel disease has helped me to overcome fear of uncertainty and pain. Thank you for instilling in me strength, courage, resilience, and fortitude. -
New York State of Mind De Representatie Van New Yorkse Getto’S in Rapmuziek 1988-1995
New York State of Mind De representatie van New Yorkse getto’s in rapmuziek 1988-1995 Naam: Ollie Peijnenburg (S4599888) Begeleider: dr. C.W. van Galen Universiteit: Radboud Universiteit Nijmegen Opleiding: Master Geschiedenis en Actualiteit Collegejaar: 2019-2020 Datum: 15-03-2020 Inhoud Inleiding .................................................................................................................................................. 4 Onderzoeksopzet .................................................................................................................................... 6 1. Allow me to introduce myself ........................................................................................................ 9 Nas ...................................................................................................................................................... 9 The Notorious B.I.G. ........................................................................................................................ 10 Boogie Down Productions ................................................................................................................ 11 Wu-Tang Clan .................................................................................................................................. 12 Big L ................................................................................................................................................. 13 2. ‘Dwellin’ in the Rotten Apple’ .................................................................................................... -
MUS 17 - Week 6, May 6 to Do, May 6
MUS 17 - Week 6, May 6 To do, May 6 1. Discuss remaining writing assignments: ◦ Writing assignment #3, due 5/27 via TritonEd at noon. Note that there is no lecture on this day, but the writing assignment is still due. Final paper is due 6/7 at noon. ◦ Final paper (annotated bib) 2. Research and writing strategies for remaining papers 3. Listening ID practice 4. Review last week's lecture 5. New material: mainstreaning and undergrounding in the second golden age. ◦ Advertising, The Source ◦ West Coast: Dre, Snoop, Tupac, Pharcyde, Freestyle Fellowship, Boss ◦ East Coast: Biggie, Nas, Lil Kim, Wu Tang, Mobb Deep Research strategies Developing a research question (final paper): • "Research" is just developing the courage to listen to the voices inside you that want to know more. You may have to do some work to quiet those other voices. • Think back to lectures, remember those moments where something really interest you. This has to be something that you want to know more about, and that is related to hip hop music (somehow). • Listen to music you like, keep an open mind, and see what questions it provokes. For finding "sources" (final paper): • roger.ucsd.edu -- the library catalog. • jstor.org -- the University pays to subscribe to services like this so that you can get access to academic research journalism • best of all: Peter Mueller. Set up a meeting with him and just state your question. "I want to know more about ... " will always yield useful results. When you're writing about the music (both papers), think back to our analytical categories: • Timbre, mode, pocket, kick/snare/ride, the feel/quality of a rapper's flow, the intricacy of the rhyme schemes, where and when the sampled content comes from, etc. -
Abstract in the Late 1970S the Culture of Hip Hop Emerged from the Streets of New York
Abstract In the late 1970s the culture of hip hop emerged from the streets of New York. It was an outlet for identity, expression and boasting among communities of young people who were raised in disadvantaged circumstances. Hip hop allowed for creative innovators to form a niche within the entertainment industry that has generated billions of dollars. The purpose of our study is to investigate how hip hop artists utilize entrepreneurial methods in their ventures. Specifically, we explore how these entrepreneurs build empires from storytelling and narrative creation. Entrepreneurial research has found storytelling as an increasingly validated method towards success. Much has been written about how entrepreneurs frame their ideas, how they have to be raconteurial in the early stages of their ventures in order to access resources, and how a “great” pitch is invaluable in capital raising. Hip hop artists rely on stories and storytelling, and the listeners response to the pitch dictates its value. The primary methods used in our study were theoretical and text analysis. We relied on content analysis, discourse analysis and critical discourse studies to analyze our data. We compared literature from various research disciplines including cultural studies, business studies, entrepreneurial research, post structuralism and philosophy. Our results indicate that hip hop artists negotiate experiences and create narratives that are then commodified. Our conclusions indicate that narratives that provide consumers a glimpse into communities of “others” while keeping listeners at a safe distance, sell. Furthermore, we find that rappers who exploit vulgarity and glamorize violence, misogyny and aggression are time and again rewarded with fame and fiscal success. -
The Origins of Iconic Images from NYC's Musical History Explained
COLUMNS COLUMNS LANDMARKS THE THE BRONX The places, spaces, MARCY HOTEL and monuments of NYC's musical past, in 2005, after gentrification made significant in- present, and future. roads into Williamsburg, Marcy Avenue was still, in the A column on words of Wolf + Lamb’s Zev Eisenberg, “a dump.” But the gear and the fledging party crew saw the potential for a future PAST FEATURED LANDMARKS 1 MAX NEUHAUS’ "TIMES SQUARE" processes that inform headquarters when they leased a squat brick building, 2 THE THING SECONDHAND STORE once a machine shop, at the intersection of the Williams- the music we make. 3 THE LOFT burg Bridge and the Brooklyn-Queens Expressway. This three-story structure, the color of benign neglect, would become the Marcy Hotel. 1 But Zev (“Wolf”) and his DJ/producer/label part- ner Gadi “Lamb” Mizrahi, both native Brooklynites, saw what the rest of the world didn’t: a perfect spot for QUEENS late-night soirees, the noise of which—minimal tech- no, house, and a grab bag of eclectic sounds—would be masked by the cars roaring overhead. They gut-renovat- 2 ed the space using found materials as décor, a 1920s noir style emerging after they looted a crumbling old theater 3 a friend had purchased upstate. Old film strips made MANHATTAN for a partition by the entrance, and giant film-rewinding spools were set with lights and pronounced chandeliers. The sub-class of audio snake-oil sales- Initially Zev and Gadi had a wine-bar concept for the men has it easy. Not because we’re all easy space, but that idea was jettisoned after a trial run. -
GET 56033 WU-TANG CLAN Enter the Wu-Tang Deluxe Book 7
Wu-Tang Clan • Enter The Wu-Tang (36 Chambers) Deluxe 7” Casebook A1. Bring Da Ruckus • B1. Shame On A Nigga C1. Clan In The Front • D1. Wu-Tang: 7th Chamber E1. Can It All Be So Simple / Intermission F1. Da Mystery Of Chessboxin’ G1. Wu-Tang Clan Ain’t Nothing Ta F’ Wit • H1. C.R.E.A.M. I1. Method Man • J1. Protect Ya Neck K1. Tearz • L1. Wu-Tang: 7th Chamber – Part II / Conclusion Get On Down Presents : "Enter The Wu-Tang (36 Chambers)" complete album on 7 inch for the first time ever housed in a deluxe casebook created in full collaboration with The RZA. • The group’s classic (November) 1993 debut album is presented as a set of six 7-Inch vinyl records • The unique hardcover “Casebook,” holds six 7-inches as book pages, along with an in-depth liner notes book (see below) • Casebook features a 56-page book (aka The Shaolinthology), with new RZA input / interviews, extensive research by journalist Chris Faraone, album lyrics, rarely-seen photos and other rare images from the Enter The Wu-Tang era This absolutely unique, deluxe edition of this classic album – which has been created in full collaboration with The RZA – is presented as a “Casebook” hardcover book, which houses the album’s 12 full songs that are divided into six 7-Inches. And beyond the 56-page liner notes, six additional pages have a Wu-Tang logo picture sleeve in which to put the vinyl. Besides the vinyl, the centerpiece of the Casebook is a 56-page Shaolinology book, featuring input by RZA, written by journalist Chris Faraone. -
Figurative Speech in English Literature Lesson Plan
Figurative Speech in English Literature Lesson Plan Learning Objectives: To develop the ability to understand and recognize the use of figurative language within a text To be able to appreciate the power of descriptive literary techniques To be able to critically engage with texts, allowing for the evaluation and discussion of techniques/themes/ideas within Description: I have modeled this lesson plan in accordance with the learning outcomes of GCSE level English Literature, for use when students are first introduced to the figurative aspects of the English language within the curriculum. My hope is that, through engaging students with hip-hop-derived texts, I can attain the class’s interest in literary devices so they can better engage with and understand more ‘classic’ literature. There will be a principal focus on similes and metaphors, as both are abundant in hip-hop lyrics. I would like to draw from Marc Lamont Hill’s ideas on ‘Classroom Configuration’ in that the desks in the room are arranged into circle so as to encourage a more communal atmosphere amongst the students.1 1 Marc Lamont Hill, ‘Spaces and Places We Fly’, Beats, Rhymes and Classroom Life (Columbia: Teachers College Press, 2009), 13-29; here, 23. Similes What is a simile? A figure of speech that expresses the resemblance of one thing to another of a different category, usually introduced by as or like… - Collins English Dictionary Activity 1: Read out the definition to the class, and then explain it in layman’s terms, aided by a few easy (mundane) examples: ‘as cold as ice’, ‘hot as the sun’, ‘thick as two planks’, etc. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Hip-hop Music (These are excerpts from my book "A History of Rock and Dance Music") Generally speaking, the rule for hip-hop music of the 1990s was that behind every successful rap act there was a producer. Rap music was born as a "do it yourself" art in which the "message" was more important than the music. During the 1990s, interest in the lyrics declined rapidly, while interest in the soundscape that those lyrics roamed increased exponentially. The rapping itself became less clownish, less stereotyped, less macho, and much more psychological and subtle. In fact, rappers often crossed over into singing. Hip-hop music became sophisticated, and wed jazz, soul and pop. Instrumental hip-hop became a genre of its own, and one of the most experimental outside of classical music. East-Coast rap TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The most significant event of the early 1990s was probably the advent of Wu-Tang Clan (1), a loose affiliation of rappers, including Gary "Genius/GZA" Grice, Russell "Ol' Dirty Bastard" Jones, Clifford "Method Man" Smith and Dennis "Ghostface Killah" Coles, "conducted" (if the rap equivalent of a classical conductor exists) by Robert "RZA" Diggs, the musical genius behind Enter the Wu-Tang (1993), a diligent tribute to old-school rap. -
RZA V6 Clean
24 August 2020 Hipgnosis Songs Fund Limited (“Hipgnosis” or the “Company”) Acquisi=on of Music Catalogue The Board of Hipgnosis Songs Fund Limited, the first and only UK listed investment company offering investors a pure-play exposure to songs and associated intellectual property rights, and its Investment Adviser, The Family (Music) Limited, are pleased to announce that the Company has acquired 50% of the copyright interest and writers share in the song catalogue of one of the most influenPal hip hop arPsts, songwriters and producers of all Pme, and leader of immensely successful Wu-Tang Clan, Robert ‘RZA’ Diggs. Having co-wriYen and produced almost all of Wu-Tang Clan’s albums, as well as many of the solo albums released by the group’s members, RZA is widely regarded as one of the greatest producers of all Pme. Recognised for his highly influenPal wriPng and producPon style, RZA was listed by Vibe magazine as one of the top 8 greatest hip hop producers of all Pme, and NME placed him on their list of the “50 Greatest Producers Ever”. In 1992, RZA formed a group that is considered to be the greatest hip hop band of all Pme, Wu-Tang Clan. The group released their debut album ‘Enter the Wu-Tang (36 Chambers)’ in 1993, which became greatly influenPal in modern hip hop producPon, with the lyrics serving as a template for many subsequent hip hop records. The hard-core hip hop album influenced the work of several arPsts including Nas, The Notorious B.I.G. and Jay-Z.