Generating Music Transition by Using a Transformer-Based Model

With the prevalence of online video-sharing platforms increasing in recent years, many people have started to create their own videos and upload them onto the Internet. In filmmaking, background music is also one of the major elements besides the footage. With matching background music, a video can not only convey information, but also immerse the viewers in the setting of a story. There is often not only one piece of background music, but several, which is why audio editing and music production software are required. However, music editing is a professional expertise, and it can be hard for amateur creators to compose ideal pieces for the video. At the same time, there are some online audio libraries and music archives for sharing audio/music samples. For beginners, one possible way to compose background music for a video is “arranging and integrating samples”, rather than making music from scratch. As a result, this leads to a problem. There might be some gaps between samples, in which we have to generate transitions to fill the gaps. In our research, we build a transformer-based model for generating a music transition to bridge two prepared music clips. We design and perform experiments to demonstrate that our results are promising. The results are also analysed by using a questionnaire to reveal a positive response from listeners, supporting that our generated transitions conform to background music.

Implementation of statistical process control for quality control cycle in the various industry in Indonesia: A systematic literature review

A systematic literature review is a rigorous method of assessing and combining research results compared to the usual literature review, which consists of annotated bibliographies, a systematic review of the existing literature regarding specific research questions on a topic of interest. Statistical Process Control (SPC) is a well-established technique in a context that has recently been used in software production. Software production is not like manufacturing because it requires more human resources and machines, resulting in an item's one-time production. It is therefore essential to assess what SPC works in a software context. Thus, this consideration has motivated us to define and conduct an evaluation review to assess whether SPC is used effectively and genuinely Quality Control Cycle (QCC) in Indonesia's various industries. According to a systematic literature review process, an established protocol was revised and refined by the authors. This journal collection of journals has been used in various industries in Indonesia. We report our preliminary considerations and results in a systematic review on the SPC and find 30 journals collected as references for readers in making research journals related to SPC. Our products and first impressions are favorable. This journal collection can also make it easier for researchers to get the desired journal references.

Revision of the endemic Afrotropical genus Tetractenion (Hymenoptera, Ichneumonidae) with an identification key to genera of Banchinae for the region

The Afrotropical banchine fauna comprises 12 genera: Apophua Morley, Atropha Kriechbaumer, Cryptopimpla Taschenberg, Exetastes Gravenhorst, Glyptopimpla Morley, Himertosoma Schmiedeknecht, Lissonota Gravenhorst, Sjostedtiella Szépligeti, Spilopimpla Cameron, Syzeuctus Förster, Tetractenion Seyrig, and Tossinola Viktorov. A well-illustrated revised key to the genera using high definition images is provided, and the endemic Afrotropical genus Tetractenion is revised, previously represented by two described species. Four new species are described: T. ibayaensissp. nov., T. pascalisp. nov., T. pseudoluteasp. nov., and T. roseisp. nov. The first species-level identification key is provided for this rare genus. Based on morphological attributes the hypothesis is presented that the species in this genus are probably nocturnal. All images and online interactive Lucid keys are available at: www.waspweb.org and the associated underlying data is made available as Suppl. materials 1, 2 LIF3 files to this paper for inter-exchange with other key production software.

Music Production Clusters

The lesson described in this chapter was originally designed for middle and high school students as part of their general music curriculum. The goal of the lesson is to create spaces for students that resemble those used by musicians outside of traditional school music contexts to simulate practical music industry experience (e.g., those environments one might find in a recording studio, in a project studio, or at a DIY music venue). This lesson encourages discovery-based learning, using common music production software, hardware, and instruments. The materials, context, and instructions will illustrate how teachers can create environments in which their students will engage, explore, discover, create, and collaborate.

Development of ADAS perception applications in ROS and "Software-In-the-Loop" validation with CARLA simulator

Higher levels of autonomous driving are bringing sophisticated requirements and unpredicted challenges. In order to solve these problems, the set of functionalities in modern vehicles is growing in terms of algorithmic complexity and required hardware. The risk of testing implemented solutions in real world is high, expensive and time consuming. This is the reason for virtual automotive simulation tools for testing are heavily acclaimed. Original Equipment Manufacturers (OEMs) use these tools to create closed sense, compute, act loop to have realistic testing scenarios. Production software is tested against simulated sensing data. Based on these inputs a set of actions is produced and simulated which generates consequences that are evaluated. This creates a possibility for OEMs to minimize design errors and optimize costs of the vehicle production before any physical prototypes are produced. This paper presents the development of simple C++/Python perception applications that can be used in driver assistance functionalities. Using ROS as a prototyping platform these applications are validated and tested with "Software-In-the Loop" (SIL) method. CARLA simulator is used as a generator for input data and output commands of the autonomous platform are executed as simulated actions within simulator. Validation is done by connecting Autoware autonomous platform with CARLA simulator in order to test against various scenes in which applications are applicable. Vision based lane detection, which is one of the prototypes, is also tested in a real world scenario to demonstrate the applicability of algorithms developed with simulators to real-time processing

Evaluación de software en la producción de objetos en Realidad Aumentada con fines educativos

El interés del presente artículo está destinado a evaluar las posibilidades que ofrece el software de producción de Realidad Aumentada (RA) existente en el momento actual para su incorporación en el ámbito educativo, con el objeto de identificar aquellas características que se adecuen a las necesidades de los docentes que pretendan diseñarlos, producirlos e incorporarlos a sus aulas. Para ello se construyó un cuestionario destinado a indagar sobre el grado de conocimiento que los expertos que evaluaron los diferentes software poseían de diferentes programas existentes en el mercado para la producción de objetos en RA. Entre los resultados obtenidos, destacar que, ante la falta de estudios que valoren el software de producción de objetos de aprendizaje en RA, el presente trabajo aporta indicaciones, tanto para la selección del mismo, como para tener criterios para su valoración. De las conclusiones obtenidas, destacar que el trabajo ha permitido identificar los diez programas que son más conocidos por los expertos en los momentos en los cuales se realizan, como por ejemplo: Arlab, Armedia, Arpa, ARTTolkit, Aurasma, Blippar, Designers artoolkit, Layar, Vuforia y Wikitude. This article has the main interest to evaluate the possibilities offered by the existing Augmented Reality (AR) production software for its incorporation into the educational field, in order to identify those characteristics that meet the needs of teachers who intend to design, produce and incorporate them into their classrooms. For this purpose, a questionnaire was created to investigate the degree of knowledge that the experts who evaluated the different software possessed of different existing programs in the market for the production of objects in AR. Among the results obtained, it should be noted that, in the absence of studies that assess the production software of learning objects in AR, this work provides indications, both for the selection of the same, and to have criteria for its assessment. From the conclusions obtained, highlight that the work has allowed identifying the ten programs that are most known by the experts at the moments in which they are made, such as: Arlab, Armedia, Arpa, ARTTolkit, Aurasma, Blippar, Designers artoolkit, Layar, Vuforia and Wikitude

Digital, Underground

Hip hop’s big takeover, four decades deep, has gone hand-in-hand with the age of digital globalization. Charts and numbers, playlists and soundscan tallies cannot fully measure the influence and mobility of hip hop’s emerging digitalities, which move swiftly across the global media landscape and bring global fans and practitioners into their collaborative folds. After decades of concern with the elusive question of what hip hop is across its historical trajectory, critical media studies is turning to the question of what hip hop does for its practitioners in the context of digital globalization. As this study shows, the long-standing field of Black aesthetic studies can nourish new approaches to understanding a transnational digital landscape in which popular music has become a premium site for emergent digital creativity, even as many of these communities fall across the digital divide that makes professional production software, hardware, and training difficult to access. Today, hip hop is as much a global field of digital design as it is a body of musical production.