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Unit 35


Assistants in record shops are used to receiving “humming queries”: a customer comes into the store humming a song he wants, but cannot remember either the title or the artist. Knowledgeable staff are often able to name that tune and make a sale. Hummers, though, can be both off-key and off-track. Frequently, therefore, the cash register stays closed and the customer goes away disappointed. A new piece of software may change this. If Online Music Recognition and Searching£¨OMRAS£©is successful, it will be possible to hum a half-remembered tune into a computer and get a match.

OMRAS, which has just been unveiled at the International Symposium on Music Information Retrieval, in Paris, is the brainchild of a group of researchers from the Universities of London, Indiana and Massachusetts. Music-recognition programs exist already, of course. Mobile-phone users, for instance, can dial into a system called Shazam, hold their phones to a source of music, and then wait for the title and artist to be texted back to them.

Shazam and its cousins work by matching sounds directly to recordings, several million of them, stored in a central database. For Shazam to make a match, though, the music source must be not just similar to, but actually identical with, one of the filed recordings. OMRAS, by contrast, analyses the music. That means it can make a match between different interpretations of the same piece. According to Mark Sandler, the leader of the British side of the project, the program would certainly be able to match performances of the same work by an amateur and a professional pianist. It should also pass the humming-query test.

The musical analysis performed by OMRAS is unlike any that a musicologist would recognise. A tune is first digitised, so that it can be processed. It is then subject to such mathematical indignities as wavelet decomposition, multi-resolution Fourier analysis, polyphase filtering and discrete cosine transformation. The upshot is a mathematical model of the sound that contains the essence of the original, without such distractions as style and quality. That essence can then be compared with a library of known essences and a match made. Unlike Shazam, only one library reference per tune is needed.

So far, Dr Sandler and his colleagues have been restricted to modelling classical music. Their 3,000-strong database includes compositions by Bach, Beethoven and Mozart. ¢Ù Worries about copyright mean that they have not yet gained access to company archives of pop music, though if the companies realise that the consequence of more humming queries being answered is more sales, this may change. On top of that, OMRAS could help to prevent accidental copyright infringements, in which a composer lifts somebody else’s work without realising his inspiration is second-hand. Or, more cynically, it will stop people claiming that any infringement was accidental. ¢Ú There is little point in doing that when a quick check on the Internet could have set your mind at rest that your magnum opus really was yours.

×¢£¨1£©£º±¾ÎÄÑ¡×ÔEconomist£»

×¢£¨2£©£º±¾ÎÄÏ°ÌâÃüÌâÄ£·Â¶ÔÏ󣺵Ú1ÌâÄ£·Â2000ÄêÕæÌâText 3µÚ1Ì⣬µÚ2ÌâÄ£·Â2001ÄêÕæÌâText 4µÚ2Ì⣬µÚ3ÌâÄ£·Â2004ÄêÕæÌâText 3µÚ4Ì⣬µÚ4ÌâÄ£·Â2003ÄêÕæÌâText 1µÚ4Ì⣬µÚ5ÌâÄ£·Â2002ÄêÕæÌâText 3µÚ5Ìâ¡£



1. The passage is mainly ______.

A) a comparison of two music-recognition programs

B) an introduction of a new software

C) a survey of the music recognition and searching market

D) an analysis of the functions of music recognition softwares

2. According to the author, one of the distinctive features of OMRAS is ______.

A) its ability to analyze music

B) its large database

C) its matching speed

D) its ability to match music of different pieces

3. The word “upshot”£¨Line 4, Paragraph 4£©most probably means ______.

A) last step

B) final result

C) goal

D) program

4. We can learn from the last paragraph that ______.

A) OMRAS will facilitate copyright infringements

B) OMRAS researchers are fans of classical music

C) composers can get more inspiration with the help of OMRAS

D) music companies are yet to realize the value of OMRAS

5. From the text we can see that the writer seems ______.

A) optimistic

B) uncertain

C) indifferent

D) skeptical





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query /ˈkwɪəri/ n. ѯÎÊ

off-key adj .£¨³ª¸è£©Åܵ÷µÄ

off-track adj . ³ª´íÇú×ÓµÄ

unveil /ˌʌnˈveɪl/ v. ʹ¹«Ö®ÓÚÖÚ

symposium /sɪmˈpəʊzɪəm/ n. £¨×¨¼Ò¡¢Ñ§Õߵģ©ÑÐÌֻᣬרÌâÌÖÂۻᣬ×ù̸»á

retrieval /rɪˈtriːvəl/ n. ¼ìË÷

brainchild /ˈbreɪntʃaɪld/ n. ÄÔÁ¦ÀͶ¯³É¹û£¨Ö¸¼Æ»®¡¢·¢Ã÷µÈ£©

text /tekst/ v. ÒÔÎı¾ÐÎʽ·¢ËÍ

musicologist /ˌmjuːzɪˈkɒlədʒɪst/ n. ÒôÀÖѧÕß

digitise /ˈdɪdʒɪtaɪz/ v. ¡¾¼Æ¡¿½«öλÔÓéÀÖ¹Ù·½appÏÂÔØÊý×Ö»¯

wavelet /ˈweɪvlɪt/ n. ΢£¨×Ó£¬Èõ£¬Ð¡£©²¨

decomposition /ˌdiːkɒmpəˈzɪʃən/ n. ·Ö½â

multi-resolution /ˈmʌltiˌrezəˈlʊʃən/ n. ¶àÖØ·Ö±æÂÊ

Fourier analysis ¸µÁ¢Ò¶·ÖÎö

polyphase /ˈpɒlɪfeɪz/ adj. ¶àÏàµÄ

filtering /ˈfɪltərɪŋ/ n. ¹ýÂË£¬Â˳ý

discrete /dɪsˈkriːt/ adj. ÀëÉ¢µÄ

cosine /ˈkəʊsaɪn/ n. ¡¾Êý¡¿ÓàÏÒ

transformation /ˌtrænsfəˈmeɪʃən/ n. ±ä»¯£¬×ª»¯

upshot /ˈʌpʃɒt/ n. ½á¹û

infringement /ɪnˈfrɪndʒmənt/ n. ÇÖȨ

magnum opus /mægnəmˈəʊpəs/ n.¡´À­¡µ¾ÞÖø





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Unit 36


Sometimes it seems as if Google has never come across an industry it doesn’t want to disrupt. Best known for its hugely popular search engine, the Internet giant has spread its tentacles into an ever-growing array of businesses, including advertising, telecoms and, most recently, digital-navigation software. The company’s habit of selling services cheaply or giving them away for free has endeared it to consumers. But its tactics have enraged competitors, who complain their new rival is out to destroy the economics of entire industries.

Such griping has been loudest in the worlds of publishing and entertainment. Although media companies are hooked on the money they mint via adverts that run on Google and its YouTube video-streaming business, many of them also accuse the search firm of commoditising their content and of undermining their profits by making it easy for marketers to track the effectiveness of online ad spend. “You’re fucking with the magic,” says the boss of one big media company to Google’s founders in a memorable scene recounted at the start of Ken Auletta’s new book.

Mr Auletta, an American journalist and long-time commentator on the media industry, dismisses claims that Google’s programming wizards are to blame for putting a jinx on the media world. Instead, he places the blame squarely, and correctly, on the publishing and movie executives who failed to appreciate the speed with which the Internet would sap their companies’ fortunes. They were also slow to spot that, although Google presented itself as a friend, it had all the hallmarks of a powerful enemy too. Now the frenemy has become a scapegoat for many of the industry’s self-inflicted wounds.

Mr Auletta does a respectable job of reviewing the media companies’ predicaments. He also rehearses some of the well-known elements of Google’s culture that have helped transform it from a start-up launched in a garage 11 years ago to a colossus with ambitions to become the world’s first media company with revenues of $100 billion. Among other things, these include lavish stock options, perks such as free meals and massages, and a rigorous and sometimes quirky recruitment process.

More compelling are the book’s insights into the relationship between the members of the triumvirate that runs Google—Mr Brin, Larry Page, his co-founder, and Eric Schmidt, the chief executive, who arrived at Google several years after its launch. Brought in at the behest of venture capitalists that have backed the firm, Mr Schmidt found himself treading a delicate path between the sensibilities of the brilliant but socially awkward founders and the demands of the impatient financiers. With the help of a veteran Silicon Valley executive who acts as a coach, the three men ultimately developed an effective working relationship.

Which is just as well, for Google now faces some formidable challenges. Fast-growing social networks such as Facebook are after a much bigger chunk of online ad dollars. And Google’s size has begun to attract the attention of anti-trust watchdogs in areas such as digital book scanning, where it has ambitious plans. This hardly amounts to the end of Google’s dominance as we know it. But if the company misplays its hand, it could turn out to be the beginning of the end.

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1. From the passage we can infer that ______.

A) media companies are blind to the benefit brought by Google

B) business response towards Google’s practice is in sharply contrast with that of consumers

C) Google is to be blamed for reducing the profit of most media companies

D) Google tends to disrupt every industry it touches upon

2. Which of the following statements is TRUE according to the text?

A) Google barely intends to be friends with other media companies.

B) Google is currently generating an annual revenue of $100 billion.

C) Media companies should blame themselves for their decline.

D) Google’s triumvirate management structure poses a disadvantage to the company’s operation.

3. The word “jinx”£¨Line 2, Paragraph 3£©most probably means ______.

A) disadvantage

B) competition

C) dilemma

D) bad luck

4. We can conclude from the text that ______.

A) Ken Auletta shows a professional insight in this book

B) Ken Auletta writes this book from a subjective perspective

C) Ken Auletta demonstrates a pessimistic view on Google’s future

D) Ken Auletta writes this book to defend Google

5. The author’s attitude towards Ken Auletta’s new book seems to be ______.

A) positive

B) negative

C) doubtful

D) uncertain





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Although media companies are hooked on the money they mint via adverts that run on Google and its YouTube video-streaming business, many of them also accuse the search firm of commoditising their content and of undermining their profits by making it easy for marketers to track the effectiveness of online ad spend.