Detecting Cover Songs with Pitch Class Key-Invariant Networks

The purpose of this study: 1) To find out copyright violations in the field of music in the form of a cover song by recording through social media connected with Law Number 28 of 2014 concerning Copyright. 2) To find out the factors that influence copyright violations in the music field in the form of cover songs by recording through social media. The writing of this thesis uses a statute approach, by reviewing amendments to Law Number 28 of 2014 concerning Copyright and its implications for copyright and its implementation by state institutions and the Republic of Indonesia Law No. 19 of 2016 concerning Amendment of Law Number 11 Year 2008 Regarding Information and Electronic Transactions. Results of research conducted by the author: When someone does a cover song through social media without permission from the creator, both for the purpose not for commercial or commercial purposes, it is an infringement of copyright. Factors that influence the occurrence of violations of copyright in Indonesia include: 1) Weak law enforcement against violators. 2) Works on the internet can easily be duplicated and disseminated globally in a short period of time and in large quantities. 3) There is no limit on the place of the offender because a domain name or website can be accessed by anyone globally. 4) Procedures for events between countries in dealing with violations of copyright on the internet, such as to determine who the perpetrators are and when they occur and determine the jurisdiction of violations still vary.

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Use of the Exclusion Relation to Profile Pitch-Class Sets

Journal of Music Theory ◽

10.2307/843514 ◽

1983 ◽

Vol 27 (2) ◽

pp. 181 ◽

Cited By ~ 2

Author(s):

John Clough

Keyword(s):

Pitch Class ◽

Pitch Class Sets

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An Algorithm for Harmonic Analysis

Music Perception An Interdisciplinary Journal ◽

10.2307/40285738 ◽

1997 ◽

Vol 15 (1) ◽

pp. 31-68 ◽

Cited By ~ 19

Author(s):

David Temperley

Keyword(s):

Harmonic Analysis ◽

Spatial Representation ◽

Tonal Music ◽

Pitch Class

An algorithm is proposed for performing harmonic analysis of tonal music. The algorithm begins with a representation of a piece as pitches and durations; it generates a representation in which the piece is divided into segments labeled with roots. This is a project of psychological interest, because much evidence exists that harmonic analysis is performed by trained and untrained listeners during listening; however, the perspective of the current project is computational rather than psychological, simply examining what has to be done computationally to produce "correct" analyses for pieces. One of the major innovations of the project is that pitches and chords are both represented on a spatial representation known as the "line of fifths"; this is similar to the circle of fifths except that distinctions are made between different spellings of the same pitch class. The algorithm uses preference rules to evaluate different possible interpretations, selecting the interpretation that most satisfies the preference rules. The algorithm has been computationally implemented; examples of the program's output are given and discussed.

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Deux ouvrages de George Plasketes (ed.) : « Like a Version – Cover Songs in Popular Music » & Play It Again: Cover Songs in Popular Music

Volume ! ◽

10.4000/volume.775 ◽

2010 ◽

pp. 217-225

Author(s):

Matthieu Saladin

Keyword(s):

Popular Music ◽

Cover Songs ◽

Music Play

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Absolute Pitch in Oral Transmission of Folk Tunes as Constrained Random Walks

Empirical Musicology Review ◽

10.18061/emr.v10i3.4898 ◽

2015 ◽

Vol 10 (3) ◽

pp. 178

Author(s):

Klaus Frieler

Keyword(s):

Random Walks ◽

Empirical Research ◽

Empirical Data ◽

Absolute Pitch ◽

Folk Songs ◽

Pitch Class ◽

Oral Transmission

In this commentary, I would like to add a few of our own, still unpublished, empirical observations concerning the possible role of absolute pitch memory (APM) in the oral transmission of folksongs. This empirical data poses some questions on the likelihood of the observed inter-recording tonic pitch consistency of Olthof, Janssen & Honing (2015) and how these could come about. Based on simulations of absolute pitch class of tonics during oral transmission of folk songs, I argue that the interplay of melodic range and vocal range might actually be the main reason for the observed non-uniformity, in contrast to the conclusions presented in Olthof et al. (2015). However, this does not invalidate the therein presented evidence, but makes the case more puzzling, consequently calling for more empirical research on the interaction of melodic and vocal range and latent APM as well as for more detailed modeling of oral transmission of folk songs.

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