In Sound Alignments, a transnational group of scholars explores the myriad forms of popular music that circulated across Asia during the Cold War. Challenging the conventional alignments and periodizations of Western cultural histories of the Cold War, they trace the routes of popular music, examining how it took on new meanings and significance as it traveled across Asia, from India to Indonesia, Hong Kong to South Korea, China to Japan. From studies of how popular musical styles from the Americas and Europe were adapted to meet local exigencies to how socialist-bloc and nonaligned Cold War organizations facilitated the circulation of popular music throughout the region, the contributors outline how music forged and challenged alliances, revolutions, and countercultures. They also show how the Cold War's legacy shapes contemporary culture, particularly in the ways 1990s and 2000s J-pop and K-pop are rooted in American attempts to foster economic exchange in East Asia in the 1960s.Throughout, Sound Alignments demonstrates that the experiences of the Cold War in Asia were as diverse and dynamic as the music heard and performed in it. Contributors. Marié Abe, Michael K. Bourdaghs, Paola Iovene, Nisha Kommattam, Jennifer Lindsay, Kaley Mason, Anna Schultz, Hyunjoon Shin, C. J. W.-L. Wee, Hon-Lun (Helan) Yang, Christine R. Yano, Qian Zhang

This book is a printed edition of the Special Issue "Sound and Music Computing" that was published in Applied Sciences

Ontologies are formal knowledge representation methods that can provide means for a shared understanding of a given domain. To enable meaningful communication and interoperability between two or more information systems that utilize independently created ontologies, a bridge between them is necessary, often referred to as an ontology alignment. Formal Methods for Managing and Processing Ontology Alignments provides complete ontology alignment lifecycle, including modelling, methods, and maintenance processes. Summarizing the author's research from the past ten years, this book consolidates findings previously published in prestigious international journals and presented at leading conferences. Each chapter is designed to be self-contained, allowing readers to approach the material modularly. The text introduces basic mathematical concepts, and later chapters build upon these foundations, but each focuses on specific aspects of ontology alignment, making the content accessible and easy to follow. Key Features Includes formal definitions of ontologies and ontology alignment along with a set of methods for providing semantics of attributes and relations. Provides application of fuzzy logic in the task of ontology alignment. Contains methods of managing the evolution of ontologies and their alignments. Proposes novel methods of assessing the quality ontology alignment. Situated in the fields of knowledge representation and semantic technologies, this book is an invaluable resource for both academic researchers and practitioners, as well as students looking to deepen their understanding.

This book constitutes the thoroughly refereed post-conference proceedings of the 5th International Symposium on Computer Music Modeling and Retrieval, CMMR 2008 - Genesis of Meaning in Sound and Music, held in Copenhagen, Denmark, in May 2008. The 21 revised full papers presented were specially reviewed and corrected for this proceedings volume. CMMR 2008 seeks to enlarge upon the Sense of Sounds-concept by taking into account the musical structure as a whole. More precisely, the workshop will have as its theme Genesis of Meaning in Sound and Music. The purpose is hereby to establish rigorous research alliances between computer and engineering sciences (information retrieval, programming, acoustics, signal processing) and areas within the humanities (in particular perception, cognition, musicology, philosophy), as well as to globally address the notion of sound meaning and its implications in music, modeling and retrieval.

This book constitutes the refereed proceedings of the 6th International Conference on Evolutionary Computation in Combinatorial Optimization, EvoMUSART 2017, held in Amsterdam, The Netherlands, in April 2017, co-located with the Evo*2017 events EuroGP, EvoCOP and EvoApplications. The 24 revised full papers presented were carefully reviewed and selected from 29 submissions. The papers cover a wide range of topics and application areas, including: generative approaches to music, graphics, game content, and narrative; music information retrieval; computational aesthetics; the mechanics of interactive evolutionary computation; computer-aided design; and the art theory of evolutionary computation.

The Handbook of Dialectology provides an authoritative, up-to-date and unusually broad account of the study of dialect, in one volume. Each chapter reviews essential research, and offers a critical discussion of the past, present and future development of the area. The volume is based on state-of-the-art research in dialectology around the world, providing the most current work available with an unusually broad scope of topics Provides a practical guide to the many methodological and statistical issues surrounding the collection and analysis of dialect data Offers summaries of dialect variation in the world's most widely spoken and commonly studied languages, including several non-European languages that have traditionally received less attention in general discussions of dialectology Reviews the intellectual development of the field, including its main theoretical schools of thought and research traditions, both academic and applied The editors are well known and highly respected, with a deep knowledge of this vast field of inquiry

Like his fellow filmmakers Stanley Kubrick, Quentin Tarantino, and Sofia Coppola, Wong Kar-wai crafts the soundtracks of his films by jettisoning original scores in favor of commercial recordings. In Remixing Wong Kar-wai, Giorgio Biancorosso examines the combinatorial practice at the heart of Wong’s cinema to retheorize musical borrowing, appropriation, and repurposing. Wong’s irrepressible penchant for poaching music from other films—whether old Chinese melodramas, Hollywood blockbusters, or European art films—subsumes familiar music under his own brand of cinema. As Wong combs through musical and cinematic archives and splices disparate music together, exceedingly well-known music loses its previous associations and acquires an infinite new constellation of meanings in his films. Drawing on Claude Lévi-Strauss’s concept of bricolage, Biancorosso contends that Wong’s borrowing is akin to a practice of creative destruction in which Wong becomes a bricoleur who remixes music at hand to create new and complete, self-sustaining statements. By outlining Wong’s modus operandi of indiscriminate borrowing and remixing, Biancorosso prompts readers to reconsider the significance of transforming preexisting music into new compositions for film and beyond.