222 research outputs found
Rob Bittner Presents: LGBTTIQQ2AAGU (AKA non-hetro) Fiction
No full textRob Bittner presents on LGBTQ young adult fiction at the Burnaby Public Library
„Wir warten auf Prof. Brandt“: Ein Kriegsgefangenenschicksal aus Kiel
No full textDer Aufsatz von Lisa Bittner begibt sich in das Kiel der unmittelbaren Nachkriegszeit. Bittner beleuchtet in ihrem Beitrag die letztlich erfolglosen Versuche verschiedener Akteurinnen und Akteure, den Kieler Juraprofessor Hans Kurt Paul Brandt aus der jugoslawischen Kriegsgefangenschaft zu befreien. Die Autorin fragt nach den Motivationen einzelner Gruppen, sich für dessen Heimkehr einzusetzen, und reflektiert das starke Engagement der Studierenden, die dieser Thematik einen eigenen Artikel im Kieler Studenten, der ersten Studierendenzeitung der CAU nach dem Zweiten Weltkrieg, widmeten. Gleichfalls legt der Beitrag professorale Netzwerke offen, die während der NS-Zeit geknüpft wurden und noch lange darüber hinaus wirkten. Diesen gelang es nicht nur, die junge Studierendenschaft für ihre Zwecke einzuspannen, sondern auch, sich gegenseitig in der jungen Bundesrepublik zahlreiche Karrierechancen zu ermöglichen.Lisa Bittner's essay takes us back to Kiel in the immediate post-war period. In her contribution, Bittner examines the in the end unsuccessful attempts by various players to free Kiel law professor Hans Kurt Paul Brandt from Yugoslavian war captivity. The author asks about the motivations of individual groups to intercede on behalf of his return home and reflects the strong commitment of the students, who dedicated an article to this topic in the Kieler Studenten, the first student newspaper of the CAU after the Second World War. The essay likewise reveals professorial networks which were tied during the Nazi era and continued to have an impact long afterwards. Those networks succeeded not only in harnessing the young student body for their own purposes, but also in providing each other with numerous career opportunities in the young Federal Republic
Costatoria (Costatoria?) subrotunda (BITTNER, 1901) a Smithian (Lower Triassic) marker from Tethys
No full textThe authors erect Costatoria costata var. subrotunda (Bittner) from Hungarian Lower Triassic to species level. Its subgeneric position is also discussed here. Thus, Costatoria is represented in the Werfen Formation of Dolomites area by two species: C. (Costatoria?) subrotunda (Bittner) from the upper part of Campil Member (Smithian) and C. (Costatoria) costata (Zenker) from Cencenighe and S. Lucano Members (Spathian). C. subrotunda shows a wide geographic distribution and could be considered as a helpful marker of Smithian age.-Author
Deep Learning and Knowledge Integration for Music Audio Analysis (Dagstuhl Seminar 22082)
No full textGiven the increasing amount of digital music, the development of computational tools that allow users to find, organize, analyze, and interact with music has become central to the research field known as Music Information Retrieval (MIR). As in general multimedia processing, many of the recent advances in MIR have been driven by techniques based on deep learning (DL). There is a growing trend to relax problem-specific modeling constraints from MIR systems and instead apply relatively generic DL-based approaches that rely on large quantities of data. In the Dagstuhl Seminar 22082, we critically examined this trend, discussing the strengths and weaknesses of these approaches using music as a challenging application domain. We mainly focused on music analysis tasks applied to audio representations (rather than symbolic music representations) to give the seminar cohesion. In this context, we systematically explored how musical knowledge can be integrated into or relaxed from computational pipelines. We then discussed how this choice could affect the explainability of models or the vulnerability to data biases and confounding factors. Furthermore, besides explainability and generalization, we also addressed efficiency, ethical and educational aspects considering traditional model-based and recent data-driven methods. In this report, we give an overview of the various contributions and results of the seminar. We start with an executive summary describing the main topics, goals, and group activities. Then, we give an overview of the participants' stimulus talks and subsequent discussions (listed alphabetically by the main contributor’s last name) and summarize further activities, including group discussions and music sessions
Egon Bittner and the Language Practices of the Police
No full textBittner’s posthumously published 1965 fieldwork, Larimer Tours (Bittner 2013 [1965]), is discussed exploring how criminology has neglected Bittner’s ethnomethodological stance and overlooked his interest in language and conversational practices. Technological records (e.g.,dash-cams, body-worn cameras) afford opportunities to extend Bittner’s seminal work with an ethnomethodological focus on police “competencies-in-action” through the study of recorded police-citizen interaction. Using data from dash-cam traffic stops and field research, this paper elaborates two competencies of the police discussed in Larimer-the use of area knowledge and procedures of interrogation. A focus on how area knowledge is utilized in an investigatory sequence of traffic stops demonstrates its interactional complexity and how “area knowledge” employed by police and citizens is made interactionally relevant and consequential to the traffic stop. Implications for criminology and the study of police-citizen interaction are discussed.+ Sprache: en
JP-5 and JP-8
No full textPrepared by Sciences International, Inc. under subcontract to Research Triangle Institute under contract no. 205-93-0606. Prepared for U.S. Department of Health and Human Services, Public Health Service, Agency for Toxic Substances and Disease Registry."Chemical manager(s)/author(s): John Risher, Patricia M. Bittner, Steve Rhodes.Includes bibliographical references (p. 141-163).205-93-060
Diisopropyl methylphosphonate
No full textPrepared by: Sciences International, Inc. under subcontract to Research Triangle Institute ; prepared for U.S. Department of Health and Human Services, Public Health Service, Agency for Toxic Substances and Disease Registry under contract no. 205-93-0606.Chemical manager(s)/author(s): Malcolm Williams, Diana Wong, Patricia M. Bittner, Steve Rhodes.Includes bibliographical references: p. 121-130.205-93-060
MDB-mf0-synth
No full text<p>MDB-mf0-synth<br>
=============</p>
<p>MDB-mf0-synth (c) by Justin Salamon, Rachel Bittner, Jordi Bonada, Juan Jose Bosch, Emilia Gómez and Juan Pablo Bello.<br>
MDB-mf0-synth is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). <br>
You should have received a copy of the license along with this work. If not, see http://creativecommons.org/licenses/by-nc/4.0/</p>
<p><br>
Created By<br>
----------</p>
<p>Justin Salamon*, Rachel Bittner*, Jordi Bonada^, Juan Jose Bosch^, Emilia Gómez^ and Juan Pablo Bello*.<br>
* Music and Audio Research Lab (MARL), New York University, USA<br>
^ Music Technology Group, Universitat Pompeu Fabra, Spain<br>
http://synthdatasets.weebly.com/<br>
http://steinhardt.nyu.edu/marl/<br>
https://www.upf.edu/web/mtg</p>
<p>Version 1.0.0</p>
<p><br>
Description<br>
-----------</p>
<p>MDB-mf0-synth contains 85 songs from the MedleyDB dataset (http://medleydb.weebly.com/) in which polyphonic pitched <br>
instruments (such as piano and guitar) have been removed and all monophonic pitched instruments (such as bass and voice) <br>
have been resynthesized to obtain perfect f0 annotations using the analysis/synthesis method described in the following <br>
publication:</p>
<p>J. Salamon, R. M. Bittner, J. Bonada, J. J. Bosch, E. Gómez, and J. P. Bello. "An analysis/synthesis framework for <br>
automatic f0 annotation of multitrack datasets". In 18th Int. Soc. for Music Info. Retrieval Conf., Suzhou, China, <br>
Oct. 2017.</p>
<p>This dataset includes:<br>
* 85 stereo wav files of song mixes where:<br>
* polyphonic pitched instruments (such as piano and guitar) have been removed<br>
* all monophonic pitched instruments (such as bass and voice) have been resynthesized using the analysis/synthesis <br>
method described in the paper<br>
* 85 csv files containing a perfect multiple-f0 annotation of all the (monophonic) pitched instruments in the mix, <br>
obtained via the analysis/synthesis method described in the paper</p>
<p>The data come in two folders, the contents of which is described below.</p>
<p><br>
audio_mix<br>
---------<br>
Contains 85 stereo wav files of song mixes in which polyphonic pitched instruments (such as piano and guitar) have been <br>
removed and all monophonic pitched instruments (such as bass and voice) have been resynthesized using the <br>
analysis/synthesis method described in the paper. Non-pitched tracks (percussion) are kept unchanged (i.e. the <br>
original stems are used). All the stems (tracks) are automatically mixed together as described in the paper.</p>
<p>Naming convention: <br>
__MIX_mf0synth.wav</p>
<p>Example: <br>
AClassicEducation_NightOwl_MIX_mf0synth.wav</p>
<p><br>
annotation_mf0<br>
--------------<br>
Contains 85 csv files containing a perfect multiple-f0 annotation of all pitched stems (tracks) in the mix, obtained <br>
via the analysis/synthesis method described in the paper. </p>
<p>Format:<br>
The annotations follow the MIREX multiple-f0 estimation (frame-basis) format:<br>
https://www.music-ir.org/mirex/wiki/2018:Multiple_Fundamental_Frequency_Estimation_&_Tracking#I.2FO_format<br>
This format is also support by mir_eval: https://github.com/craffel/mir_eval</p>
<p>Each row in the annotation starts with a timestamp, followed by 0 or more tab separated frequency values in Hz <br>
representing the f0 of each active pitched instrument present in the time frame represented by the row. The first <br>
frame in the annotation is zero-centered. The hop size of the annotation is exactly 10 ms. </p>
<p>IMPORTANT: no assumptions can be made as to the ordering of the f0 values in each row. The frequency values are NOT <br>
ordered neither by instrument nor by frequency, and should thus be treated as a "bag of frequencies" (a set) without <br>
any assumptions as to which frequency belongs to which instrument.</p>
<p>Naming convention:<br>
__MIX_mf0synth.csv</p>
<p>Example:<br>
AClassicEducation_NightOwl_MIX_mf0synth.csv</p>
<p><br>
Please Acknowledge MDB-mf0-synth in Academic Research<br>
-----------------------------------------------------</p>
<p>Please cite the following publication when using MDB-mf0-synth:</p>
<p>J. Salamon, R. M. Bittner, J. Bonada, J. J. Bosch, E. Gómez, and J. P. Bello. "An analysis/synthesis framework for <br>
automatic f0 annotation of multitrack datasets". In 18th Int. Soc. for Music Info. Retrieval Conf., Suzhou, China, <br>
Oct. 2017.</p>
<p>For information about the original MedleyDB dataset please see (and cite):</p>
<p>R. M. Bittner, J. Salamon, M. Tierney, M. Mauch, C. Cannam, and J. P. Bello. MedleyDB: A multitrack dataset for <br>
annotation-intensive MIR research. In 15th Int. Soc. for Music Info. Retrieval Conf., pages 155–160, Taipei, Taiwan, <br>
Oct. 2014.</p>
<p><br>
Conditions of Use<br>
-----------------</p>
<p>Dataset created by Justin Salamon, Rachel Bittner, Jordi Bonada, Juan Jose Bosch, Emilia Gómez and Juan Pablo Bello. <br>
<br>
The MDB-mf0-synth dataset is offered free of charge under the terms of the Creative Commons<br>
Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0): http://creativecommons.org/licenses/by-nc/4.0/<br>
<br>
The dataset and its contents are made available on an "as is" basis and without warranties of any kind, including <br>
without limitation satisfactory quality and conformity, merchantability, fitness for a particular purpose, accuracy or <br>
completeness, or absence of errors. Subject to any liability that may not be excluded or limited by law, NYU is not <br>
liable for, and expressly excludes, all liability for loss or damage however and whenever caused to anyone by any use of <br>
the MDB-mf0-synth dataset or any part of it.</p>
<p><br>
Feedback<br>
--------</p>
<p>Please help us improve MDB-mf0-synth by sending your feedback to: [email protected]<br>
In case of a problem report please include as many details as possible.<br>
</p
MDB-melody-synth
No full text<p>MDB-melody-synth<br>
================</p>
<p>MDB-melody-synth (c) by Justin Salamon, Rachel Bittner, Jordi Bonada, Juan Jose Bosch, Emilia Gómez and Juan Pablo Bello.<br>
MDB-melody-synth is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). <br>
You should have received a copy of the license along with this work. If not, see http://creativecommons.org/licenses/by-nc/4.0/</p>
<p><br>
Created By<br>
----------</p>
<p>Justin Salamon*, Rachel Bittner*, Jordi Bonada^, Juan Jose Bosch^, Emilia Gómez^ and Juan Pablo Bello*.<br>
* Music and Audio Research Lab (MARL), New York University, USA<br>
^ Music Technology Group, Universitat Pompeu Fabra, Spain<br>
http://synthdatasets.weebly.com/<br>
http://steinhardt.nyu.edu/marl/<br>
https://www.upf.edu/web/mtg</p>
<p>Version 1.0.0</p>
<p><br>
Description<br>
-----------</p>
<p>MDB-melody-synth contains 65 songs from the MedleyDB dataset (http://medleydb.weebly.com/) in which the melody track <br>
has been resynthesized to obtain a perfect melody f0 annotation using the analysis/synthesis method described in the <br>
following publication:</p>
<p>J. Salamon, R. M. Bittner, J. Bonada, J. J. Bosch, E. Gómez, and J. P. Bello. "An analysis/synthesis framework for <br>
automatic f0 annotation of multitrack datasets". In 18th Int. Soc. for Music Info. Retrieval Conf., Suzhou, China, <br>
Oct. 2017.</p>
<p>This dataset includes:<br>
* 65 stereo wav files of song mixes where the original melody stem (track) has been replaced with a resynthesized one<br>
* 65 mono wav files containing the resynthesized melody stem (track) only<br>
* 65 csv files containing a perfect f0 annotation of the melody stem (track) obtained via the analysis/synthesis <br>
method described in the paper</p>
<p>The data come in three folders, the contents of which is described below.</p>
<p><br>
audio_mix<br>
---------<br>
Contains 65 stereo wav files of song mixes where the original melody stem (track) has been replaced with a <br>
resynthesized one. All other stems (tracks) in the mix are the original ones (not resynthesized). The resynthesized <br>
melody is obtained via the analysis/synthesis method described in the paper, and is automatically mixed together <br>
with the rest of the stems as described in the paper.</p>
<p>Naming convention: <br>
__MIX_melsynth.wav</p>
<p>Example: <br>
AClassicEducation_NightOwl_MIX_melsynth.wav</p>
<p><br>
audio_melody<br>
------------<br>
Contains 65 mono wav files of the resynthesized melody stem (track) only. The resynthesized melody is obtained via the <br>
analysis/synthesis method described in the paper.</p>
<p>Naming convention: <br>
__STEM_.RESYN.wav</p>
<p>Example: <br>
AClassicEducation_NightOwl_STEM_08.RESYN.wav</p>
<p><br>
annotation_melody<br>
-----------------<br>
Contains 65 csv files containing a perfect f0 annotation of the melody stem (track) obtained via the analysis/synthesis <br>
method described in the paper. </p>
<p>Format:<br>
Each file contains two comma-separated columns, the first containing timestamps and the second containing the melody <br>
f0 in Hz. The first frame in the annotation is zero-centered. Silence is indicated as 0 Hz. The hop size of the <br>
annotation is 128/44100 seconds (~2.9 ms).</p>
<p>Naming convention:<br>
__STEM_.RESYN.csv</p>
<p>Example:<br>
AClassicEducation_NightOwl_STEM_08.RESYN.csv</p>
<p><br>
Please Acknowledge MDB-melody-synth in Academic Research<br>
--------------------------------------------------------</p>
<p>Please cite the following publication when using MDB-melody-synth:</p>
<p>J. Salamon, R. M. Bittner, J. Bonada, J. J. Bosch, E. Gómez, and J. P. Bello. "An analysis/synthesis framework for <br>
automatic f0 annotation of multitrack datasets". In 18th Int. Soc. for Music Info. Retrieval Conf., Suzhou, China, <br>
Oct. 2017.</p>
<p>For information about the original MedleyDB dataset please see (and cite):</p>
<p>R. M. Bittner, J. Salamon, M. Tierney, M. Mauch, C. Cannam, and J. P. Bello. MedleyDB: A multitrack dataset for <br>
annotation-intensive MIR research. In 15th Int. Soc. for Music Info. Retrieval Conf., pages 155–160, Taipei, Taiwan, <br>
Oct. 2014.</p>
<p><br>
Conditions of Use<br>
-----------------</p>
<p>Dataset created by Justin Salamon, Rachel Bittner, Jordi Bonada, Juan Jose Bosch, Emilia Gómez and Juan Pablo Bello. <br>
<br>
The MDB-melody-synth dataset is offered free of charge under the terms of the Creative Commons<br>
Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0): http://creativecommons.org/licenses/by-nc/4.0/<br>
<br>
The dataset and its contents are made available on an "as is" basis and without warranties of any kind, including <br>
without limitation satisfactory quality and conformity, merchantability, fitness for a particular purpose, accuracy or <br>
completeness, or absence of errors. Subject to any liability that may not be excluded or limited by law, NYU is not <br>
liable for, and expressly excludes, all liability for loss or damage however and whenever caused to anyone by any use of <br>
the MDB-melody-synth dataset or any part of it.</p>
<p><br>
Feedback<br>
--------</p>
<p>Please help us improve MDB-melody-synth by sending your feedback to: [email protected]<br>
In case of a problem report please include as many details as possible.<br>
</p
MDB-stem-synth
No full text<p>MDB-stem-synth<br>
==============</p>
<p>MDB-stem-synth (c) by Justin Salamon, Rachel Bittner, Jordi Bonada, Juan Jose Bosch, Emilia Gómez and Juan Pablo Bello.<br>
MDB-stem-synth is licensed under the Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). <br>
You should have received a copy of the license along with this work. If not, see http://creativecommons.org/licenses/by-nc/4.0/</p>
<p><br>
Created By<br>
----------</p>
<p>Justin Salamon*, Rachel Bittner*, Jordi Bonada^, Juan Jose Bosch^, Emilia Gómez^ and Juan Pablo Bello*.<br>
* Music and Audio Research Lab (MARL), New York University, USA<br>
^ Music Technology Group, Universitat Pompeu Fabra, Spain<br>
http://synthdatasets.weebly.com/<br>
http://steinhardt.nyu.edu/marl/<br>
https://www.upf.edu/web/mtg</p>
<p>Version 1.0.0</p>
<p><br>
Description<br>
-----------</p>
<p>MDB-stem-synth contains 230 solo stems (tracks) from the MedleyDB dataset (http://medleydb.weebly.com/) spanning a <br>
variety of musical instruments and voices, which have been resynthesized to obtain a perfect f0 annotation using the <br>
analysis/synthesis method described in the following publication:</p>
<p>J. Salamon, R. M. Bittner, J. Bonada, J. J. Bosch, E. Gómez, and J. P. Bello. "An analysis/synthesis framework for <br>
automatic f0 annotation of multitrack datasets". In 18th Int. Soc. for Music Info. Retrieval Conf., Suzhou, China, <br>
Oct. 2017.</p>
<p>This dataset includes:<br>
* 230 mono wav files containing the resynthesized solo stem (track) from a variety of instruments and voices<br>
* 230 csv files containing a perfect f0 annotation of the stem (track) obtained via the analysis/synthesis method <br>
described in the paper</p>
<p>The data come in two folders, the contents of which is described below.</p>
<p><br>
audio_stems<br>
-----------<br>
Contains 230 mono wav files of the resynthesized solo stems (tracks), spanning a variety of musical instruments and <br>
voices. The resynthesized stems are obtained via the analysis/synthesis method described in the paper.</p>
<p>Naming convention: <br>
__STEM_.RESYN.wav</p>
<p>Example: <br>
AClassicEducation_NightOwl_STEM_01.RESYN.wav</p>
<p><br>
annotation_stems<br>
----------------<br>
Contains 230 csv files containing a perfect f0 annotation of the stems (tracks) obtained via the analysis/synthesis <br>
method described in the paper. </p>
<p>Format:<br>
Each file contains two comma-separated columns, the first containing timestamps and the second containing the stem <br>
f0 in Hz. The first frame in the annotation is zero-centered. Silence is indicated as 0 Hz. The hop size of the <br>
annotation is 128/44100 seconds (~2.9 ms).</p>
<p>Naming convention:<br>
__STEM_.RESYN.csv</p>
<p>Example:<br>
AClassicEducation_NightOwl_STEM_01.RESYN.csv</p>
<p><br>
Please Acknowledge MDB-stem-synth in Academic Research<br>
------------------------------------------------------</p>
<p>Please cite the following publication when using MDB-stem-synth:</p>
<p>J. Salamon, R. M. Bittner, J. Bonada, J. J. Bosch, E. Gómez, and J. P. Bello. "An analysis/synthesis framework for <br>
automatic f0 annotation of multitrack datasets". In 18th Int. Soc. for Music Info. Retrieval Conf., Suzhou, China, <br>
Oct. 2017.</p>
<p>For information about the original MedleyDB dataset please see (and cite):</p>
<p>R. M. Bittner, J. Salamon, M. Tierney, M. Mauch, C. Cannam, and J. P. Bello. MedleyDB: A multitrack dataset for <br>
annotation-intensive MIR research. In 15th Int. Soc. for Music Info. Retrieval Conf., pages 155–160, Taipei, Taiwan, <br>
Oct. 2014.</p>
<p><br>
Conditions of Use<br>
-----------------</p>
<p>Dataset created by Justin Salamon, Rachel Bittner, Jordi Bonada, Juan Jose Bosch, Emilia Gómez and Juan Pablo Bello. <br>
<br>
The MDB-stem-synth dataset is offered free of charge under the terms of the Creative Commons<br>
Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0): http://creativecommons.org/licenses/by-nc/4.0/<br>
<br>
The dataset and its contents are made available on an "as is" basis and without warranties of any kind, including <br>
without limitation satisfactory quality and conformity, merchantability, fitness for a particular purpose, accuracy or <br>
completeness, or absence of errors. Subject to any liability that may not be excluded or limited by law, NYU is not <br>
liable for, and expressly excludes, all liability for loss or damage however and whenever caused to anyone by any use of <br>
the MDB-stem-synth dataset or any part of it.</p>
<p><br>
Feedback<br>
--------</p>
<p>Please help us improve MDB-stem-synth by sending your feedback to: [email protected]<br>
In case of a problem report please include as many details as possible.<br>
</p
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