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Comunicació presentada a: 20th annual conference of the International Society for Music Information Retrieval (ISMIR) celebrat del 4 al 8 de novembre de 2019 a Delft, Països Baixos. ; This paper focuses on Cover Song Identification (CSI), an important research challenge in content-based Music Information Retrieval (MIR). Although the task itself is interesting and challenging for both academia and industry scenarios, there are a number of limitations for the advancement of current approaches. We specifically address two of them in the present study. First, the number of publicly available datasets for this task is limited, and there is no publicly available benchmark set that is widely used among researchers for comparative algorithm evaluation. Second, most of the algorithms are not publicly shared and reproducible, limiting the comparison of approaches. To overcome these limitations we propose Da-TACOS, a DaTAset for COver Song Identification and Understanding, and two frameworks for feature extraction and benchmarking to facilitate reproducibility. Da-TACOS contains 25K songs represented by unique editorial metadata plus 9 low- and mid-level features pre-computed with open source libraries, and is divided into two subsets. The Cover Analysis subset contains audio features (e.g. key, tempo) that can serve to study how musical characteristics vary for cover songs. The Benchmark subset contains the set of features that have been frequently used in CSI research, e.g. chroma, MFCC, beat onsets etc. Moreover, we provide initial benchmarking results of a selected number of state-of-the-art CSI algorithms using our dataset, and for reproducibility, we share a GitHub repository containing the feature extraction and benchmarking frameworks. ; This work is partially supported by the MIP-Frontiers project, the European Union's Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No. 765068, and by TROMPA, the Horizon 2020 project 770376-2.

Frontmatter -- Contents -- Introduction -- Introduction -- The Invisible Peasantry -- The Hidden Narratives of Medieval Art -- Modern Intolerance and the Medieval Crusades -- Blood Libel, a Lie and Its Legacies -- Who's Afraid of Shari'a Law? -- How Do We Find Out About Immigrants in Later Medieval England? -- The Middle Ages in the Harlem Renaissance -- Introduction -- Three Ways of Misreading Thomas Jefferson's Qur'an -- The Nazi Middle Ages -- What Would Benedict Do? -- No, People in the Middle East Haven't Been Fighting Since the Beginning of Time -- Ivory and the Ties That Bind -- Blackness, Whiteness, and the Idea of Race in Medieval European Art -- England Between Empire and Nation in "The Battle of Brunanburh" -- Whose Spain Is It, Anyway? -- Introduction -- Modern Knights, Medieval Snails, and Naughty Nuns -- Charting Sexuality and Stopping Sin -- "Celtic" Crosses and the Myth of Whiteness -- Whitewashing the "Real" Middle Ages in Popular Media -- Real Men of the Viking Age -- #DeusVult -- Own Your Heresy -- Afterword: Medievalists and the Education of Desire -- Appendix I: Possibilities for Teaching—By Genre -- Appendix II: Possibilities for Teaching— by Course Theme -- List of Contributors -- About the Editors

Cover -- ARVO PÄRT Sounding the Sacred -- Title -- Copyright -- Contents -- I. INTRODUCTION -- 1. Arvo Pärt and the Art of Embodiment -- 2. The Sound-and Hearing-of Arvo Pärt -- II. HISTORY AND CONTEXT -- 3. Sounding Structure, Structured Sound -- 4. Colorful Dreams: Exploring Pärt's Soviet Film Music -- 5. Arvo Pärt's Tintinnabuli and the 1970s Soviet Underground -- III. PERFORMANCE -- 6. The Pärt Sound -- 7. The Rest Is Silence -- IV. MATERIALITY AND PHENOMENOLOGY -- 8. Vibrating, and Silent: Listening to the Material Acoustics of Tintinnabulation -- 9. Medieval Pärt -- 10. The Piano and the Performing Body in the Music of Arvo Pärt: Phenomenological Perspectives -- V. THEOLOGY -- 11. Presence, Absence, and the Ambiguities of Ambiance: Theological Discourse and the Move to Sound in Pärt Studies -- 12. The Materiality of Sound and the Theology of the Incarnation in the Music of Arvo Pärt -- 13. Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt -- 14. In the Beginning There Was Sound: Hearing, Tintinnabuli, and Musical Meaning in Sufism -- LIST OF CONTRIBUTORS -- INDEX OF TERMS -- INDEX OF PERSONS -- WORKS BY OTHER COMPOSERS -- WORKS BY ARVO PÄRT.