In discourse on the topic, the question of what constitutes a musical ‘borrowing’, if raised at all, is usually restricted in scope and framed as one of terminology – that is, of determining the right term to characterise a particular borrowing act. In this way has arisen a welter of terms that, however expressive of nuance, have precluded evaluation of the phenomenon as such. This is in part a consequence of general disregard for the fact that to conceive of musical borrowing entails correlative concepts, all of which precondition it, yet none self-evidently. Further preclusive of clarity, the musico-analytic lens of borrowing is typically invoked only in counterpoint to a quintessentially Western aesthetic category of composition ex nihilo. As a consequence, the fundamental role played by borrowing in musical domains situated at the periphery of the Western art music tradition, specifically pre-modern polyphony and twentieth-century musique concrète, has been overlooked. This article seeks to bridge such lacunae in our understanding of musical borrowing via phenomenological investigation into its conceptual and historical foundations. A more comprehensive evaluation of musical borrowing, one capable of accounting for its diverse instantiations while simultaneously disclosing what makes all of them ‘borrowings’ in the first place, is thereby attainable.

Current automatic deception detection approaches tend to rely on cues that are based either on specific lexical items or on linguistically abstract features that are not necessarily motivated by the psychology of deception. Notably, while approaches relying on such features can do well when the content domain is similar for training and testing, they suffer when content changes occur. We investigate new linguistically defined features that aim to capture specific details, a psychologically motivated aspect of truthful versus deceptive language that may be diagnostic across content domains. To ascertain the potential utility of these features, we evaluate them on data sets representing a broad sample of deceptive language, including hotel reviews, opinions about emotionally charged topics, and answers to job interview questions. We additionally evaluate these features as part of a deception detection classifier. We find that these linguistically defined specific detail features are most useful for cross-domain deception detection when the training data differ significantly in content from the test data, and particularly benefit classification accuracy on deceptive documents. We discuss implications of our results for general-purpose approaches to deception detection.

In this article, based on four decades of experience of using samples in diverse ways in experimental, particularly electroacoustic compositions, the author investigates the world of what he calls ‘sample-based sound-based music’ and suggests that there is a relative lack of scholarship in this important area. The article’s contextual sections focus on briefly delineating this world of sonic creativity and placing it within today’s sampling culture as well as dealing with two political aspects of sampling, a musician’s attitude towards the reuse of sonic materials and the legality of sampled sounds, including musical passages, in the discussion of which current legislation related to sampling is challenged. Following this, a number of categories are presented in terms of the types of sampling material that is being used as well as how sample-based works are presented. The subsequent section is perhaps the most poignant in the article, namely the opening up of this form of innovative composition from a more traditional ‘artist creates work’ mode of operation to a more collaborative one which is essentially already part of most other forms of sampling culture. The objective here is to suggest that such collaborative approaches will enable sample-based sound-based music to become part of the lives of a much broader group than those currently involved with it.

Reproduction (playback) is responsible for the presentation of the full spectrum of sound character captured during the recording process. The control of this and the faithfulness to an original sound has informed modern sound aesthetics. Current modes of reproduction, such as streaming, see the listener more interested in an approximate presentation of sound, rather than a broad and more psychoacoustically pleasing one. In the sonic arts, the practice of sound recycling and its associated methodologies, reproduction is re-contextualised, involving material that is borrowed, reworked and often disconnected from its source. Such issues are considered in this article through the examination of sound recycling in 94 diskont (1995), an album produced by the German act Oval. By studying the use of material and medium in the work, an attempt is made to discuss approaches to sound recycling through conceptual frameworks proposed by Bregman, Deleuze, Guattari and Smalley to provide a forum towards the interpretation of sound recycling in wider sonic arts practices.

The medium and genre of the mixtape, a form dependent upon borrowed, repurposed and re-contextualised sonic material, has recently re-emerged as a vital component of contemporary commercial and creative music culture. This article suggests that analysis of the mixtape’s history and ethos can provide useful insight into ongoing tensions between cultures of active and passive listening, questions of ownership with regard to recorded sound and between the roles of producer and consumer within contemporary audio culture. It also proposes, via reference to relevant contemporary works, that the mixtape may now be considered a vital hybrid creative form, part composition/part compilation, with which composers, producers and sonic artists may actively engage. It historically and culturally contextualises this form, placing it within a lineage of military, political, creative and commercial conflict, which, among recorded sound technologies, is unique to tape and shows that the mixtape may be seen as an expression or utilisation of these factors. Consistent commercial and industrial efforts to suppress tape’s subversive qualities are outlined as are creative methodologies which have been adopted to resist such efforts. Contemporary music industry strategies to channel and commodify the aura and ethos of the mixtape as forerunner of the curated playlists vital to its current business model are detailed and contemporary cassette culture is considered as an alternative inheritor of the mixtape’s legacy and as alternative model for future musical creation and distribution. Finally, a set of characteristics which distinguish the mixtape as a creative form are identified and their potential application and implications are discussed.

The Empirical Methods in Natural Language Processing (EMNLP) 2018 workshop BlackboxNLP was dedicated to resources and techniques specifically developed for analyzing and understanding the inner-workings and representations acquired by neural models of language. Approaches included: systematic manipulation of input to neural networks and investigating the impact on their performance, testing whether interpretable knowledge can be decoded from intermediate representations acquired by neural networks, proposing modifications to neural network architectures to make their knowledge state or generated output more explainable, and examining the performance of networks on simplified or formal languages. Here we review a number of representative studies in each category.

Current approaches to learning semantic representations of sentences often use prior word-level knowledge. The current study aims to leverage visual information in order to capture sentence level semantics without the need for word embeddings. We use a multimodal sentence encoder trained on a corpus of images with matching text captions to produce visually grounded sentence embeddings. Deep Neural Networks are trained to map the two modalities to a common embedding space such that for an image the corresponding caption can be retrieved and vice versa. We show that our model achieves results comparable to the current state of the art on two popular image-caption retrieval benchmark datasets: Microsoft Common Objects in Context (MSCOCO) and Flickr8k. We evaluate the semantic content of the resulting sentence embeddings using the data from the Semantic Textual Similarity (STS) benchmark task and show that the multimodal embeddings correlate well with human semantic similarity judgements. The system achieves state-of-the-art results on several of these benchmarks, which shows that a system trained solely on multimodal data, without assuming any word representations, is able to capture sentence level semantics. Importantly, this result shows that we do not need prior knowledge of lexical level semantics in order to model sentence level semantics. These findings demonstrate the importance of visual information in semantics.