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Journal articles on the topic 'Vocaloidy'

Author: Grafiati

Published: 24 April 2022

Last updated: 30 July 2025

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1

Fatsyal, Sabina, Nurfitri Nurfitri, and Cica Nur Azizah. "Perbandingan Vocaloid Karakter Hatsune Miku dengan Karakter Mirror Images Produksi Crypton Future Media." NAWA: Journal of Japanese Studies 2, no. 2 (2025): 1–13. https://doi.org/10.69908/nawa.v2i2.44893.

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Vocaloid is not just a music production tool, but a pop culture phenomenon that combines technology, visual art, and fan creativity. The Vocaloid phenomenon began with the launch of Hatsune Miku in 2007 by Crypton Future Media in collaboration with Yamaha. Shortly thereafter, another character known as Mirror Image was released, namely Kagamine Rin and Len. The emergence of these two Vocaloids has revolutionized the Japanese music landscape. Through voice synthesis software, Vocaloid enables individuals to create music without the limitations of human vocalists. The Vocaloid fan community supp

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2

Roussel, Lila S. "The animation medium in the realm of Vocaloid: a multidimensional semiotic overview on the functional circle." Punctum. International Journal of Semiotics 10, no. 1 (2024): 177–203. https://doi.org/10.18680/hss.2024.0010.

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The digital voicebanks/virtual idols known as ‘Vocaloids’ are associated with a vast and diverse repertoire of artifacts, most of which are not industry-sourced but rather the product of self-published hobbyist labor. Among the diverse media through which Vocaloid culture has developed and spread, the animation medium stands out for its variety of uses and the multiplicity of affordances it provides. Not only have the animation practices surrounding Vocaloid impacted the objectual consumption of these entities both as musical instruments and as virtual idol personas, but they have also given r

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3

ARENDT, MELISSA-LILI, and NATALIA NOWACK. "THE VIRTUAL ARTIST. VOCALOID AND AN EXPERIMENT ON ITS PERCEPTION." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 173–213. http://dx.doi.org/10.30628/1994-9529-2021-17.1-173-213.

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Over the past decade the voice synthesiser Vocaloid has gained great popularity in Japan. Critics debate on whether Vocaloid can be called a new musical instrument and if its creation marks a new era in (Japanese) popular music. The unique characteristic of a Vocaloid is its Alter Ego, its “virtual shape”, which is illustrated like common anime or manga characters such as Sailor Moon or Kamikaze Kaito Jeanne, thus owning not just a name but also human-like features. It was due to the use of avatar images that Vocaloid managed to spread across the world via the internet. The most famous anthrop

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4

Rosner, Krisztina. "Layers of the Traditional in Popular Performing Arts: Object and Voice as Character: Vocaloid Opera AOI." Mutual Images Journal, no. 6 (June 20, 2019): 7–20. http://dx.doi.org/10.32926/2018.6.ros.layer.

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The paper analyzes how the concept of presence is put into play in connection to disappearance, contemporary popular media technology and objects in the 2014 production of Vocaloid Opera Aoi, composed by Hiroshi Tamawari. In the traditional noh theatre version of the famous story, the character Aoi does not appear “in person,” she is represented by a kimono. In the 2014 production the modified story is performed with bunraku puppets and sung by a Vocaloid singer, a software. By analyzing this, I elaborate on the connection between the recent studies on object dramaturgy and the questions of no

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Yin, Yiyi. "Vocaloid in China: Cosmopolitan music, cultural expression, and multilayer identity." Global Media and China 3, no. 1 (2018): 51–66. http://dx.doi.org/10.1177/2059436418778600.

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Addressing the notion of user-centered research, this study examines how Vocaloid, the Japan-developed voice synthesis software and its personified virtual singer were contextualized in China. It explores how the Chinese Vocaloid character LUO Tianyi, who was initially introduced as a girl from outer space, has been reconstituted into figures that were both locally and nationally converged into Chinese culture. In relation to broader theoretical discourse regarding the cultural impact of globalization on local identity, this study also attempts to unpack the Vocaloid practices in China in term

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6

LimChanSoo and 이윤지. "Change of Otaku culture in Vocaloid." Journal of Japanese Language and Literature 82, no. 2 (2012): 277–99. http://dx.doi.org/10.17003/jllak.2012.82.2.277.

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Permana, Muhammad Yogi, Budi Rukhyana, and Yelni Rahmawati. "Perkembangan Kabuki Menjadi Choukabuki Sebagai Kolaborasi Budaya Dengan Pengaruh Modernisasi." IDEA : Jurnal Studi Jepang 1, no. 1 (2019): 12–23. http://dx.doi.org/10.33751/idea.v1i1.1099.

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Abstrak Dalam penelitian ini penulis akan membahas perkembangan kabuki menjadi choukabuki sebagai kolaborasi budaya dengan pengaruh modernisasi. Kabuki merupukan salah satu seni teater tradisional Jepang yang menggabungkan beberapa seni tari, seni peran, dan seni musik. Sedangkan, Choukabuki merupakan pertunjukan teater yang tercipta dari hasil kolaborasi antara budaya tradisional Jepang yaitu kabuki yang menyuguhkan kolaborasi antara aktor kabuki dengan salah satu diva vocaloid yaitu Hatsune Miku dan dipertunjukan secara hologram 4D. Objek penelitian ini adalah mengenai perkembangan kabuki da

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8

Choi, Joo-Ho. "The Concept and Cultural Characteristics of VOCALOID." Korean Journal of animation 21, no. 1 (2025): 181–203. https://doi.org/10.51467/asko.2025.3.21.1.181.

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9

Haffter, Christoph. "THE SHALLOWS OF THE VOCALOID: REFLECTIONS ON OLGA NEUWIRTH’S LE ENCANTADAS O LE AVVENTURE NEL MARE DELLE MERAVIGLIE (2014-15)." Tempo 79, no. 312 (2025): 26–36. https://doi.org/10.1017/s0040298224001049.

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AbstractThis article sketches an interpretation of Olga Neuwirth’s Le Encantadas o le avventure nel mare delle meraviglie by focusing on the song by the Vocaloid Hatsune Miku in the last section of the composition. This Vocaloid song is disturbing because it expresses a conflicted form of subjectivity that is typical of our time. The article considers four different ways to read this expression: as pop-cultural negation of subjectivity, as postmodern celebration of singularity, as post-revolutionary longing for collectivity or as the contemporary mythical counterpart of the capitalist subject

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Vargas López, Julio Enrique. "Hologramas políticos: Vocaloid, políticas japonesas y juventudes mexicanas." VOCES Y SABERES, no. 13 (March 15, 2025): 52–67. https://doi.org/10.22201/fesa.vocesysaberes.2025.13.111.

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Este artículo analiza la circulación del fenómeno cultural Vocaloid desde Japón hasta México, explorando su papel dentro del soft power japonés y su relación con la estrategia política Cool Japan. Se examinan algunos de los factores históricos, políticos y económicos que han favorecido su difusión en el contexto de la globalización neoliberal, así como el papel de la industria cultural japonesa en la proyección de valores nacionales a nivel internacional. Más allá de ser un software de síntesis vocal, Vocaloid ha sido resignificado por jóvenes mexicanos a través de prácticas artísticas y comun

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11

Sueyoshi, Yuu, and Yohei Seki. "VOCALOID Creator Search Using Music Genre and Impression." Transactions of the Japanese Society for Artificial Intelligence 32, no. 1 (2017): WII—K_1–12. http://dx.doi.org/10.1527/tjsai.wii-k.

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KENMOCHI, Hideki. "An Interview with Hideki KENMOCHI who Developed "VOCALOID"." Journal of the Society of Mechanical Engineers 117, no. 1147 (2014): 403–6. http://dx.doi.org/10.1299/jsmemag.117.1147_403.

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13

Tormakhova, A. M. "MEDIA TECHNOLOGIES AND SCIENCE ART IN THE CONTEXT OF MODERN CULTURAL AND ART PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 98–101. http://dx.doi.org/10.17721/ucs.2020.1(6).19.

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Media in the 21st Century Cultural Area is an integral component of artistic practices. Currently, a new direction is emerging – science art, which combines art, technology and scientific development. The leading feature of contemporary music is its transformation, which is due to the changing channels of artistic communication that set certain parameters. Music plays a very important role in the space in which it is performed, both the material itself and the musicians. A promising area of science-art development is the emergence of software and equipment that allows us to "resurrect" the sta

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14

Bell, Sarah A. "The dB in the .db: Vocaloid Software as Posthuman Instrument." Popular Music and Society 39, no. 2 (2015): 222–40. http://dx.doi.org/10.1080/03007766.2015.1049041.

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15

Budnik, Ruslan, and Evgenia Evpak. "Human Voice: Legal Protection Challenges." Legal Issues in the Digital Age 5, no. 4 (2024): 28–45. https://doi.org/10.17323/2713-2749.2024.4.28.45.

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Focused on the phenomenon of human voice, the paper purports to develop approaches to legal protection of ordinary people's voices and those of artists as the technologies for sound synthesis, music and vocal performance are becoming more sophisticated. It was demonstrated the problem of legal protection of human voice has become especially pressing one in the context of artificial neural networks such as vocaloid designed for sound synthesis and voice cloning. The study provides a systemic arrangement of legally meaningful knowledge of human voice useful for the development of legal provision

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16

Sandra Annett. "What Can a Vocaloid Do? The Kyara as Body without Organs." Mechademia: Second Arc 10 (2015): 163. http://dx.doi.org/10.5749/mech.10.2015.0163.

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17

Budagyan, Regina R., and Marina L. Zaytseva. "Digital Technologies in the Modern Music Space." Observatory of Culture 17, no. 4 (2020): 368–78. http://dx.doi.org/10.25281/2072-3156-2020-17-4-368-378.

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At the turn of the 20th—21st centuries, musical culture transformation processes have been actively actualized, which is manifested in the use of digital and visual technologies by musicians, direc tors, producers, visual designers. The stages of transformation of modern musical culture have become relevant precisely for the reason that at the turn of the 20th—21st centuries, mass communication media have begun a process of transition to new digital technologies of implementation and delivery of audiovisual information to modern listeners. Modern specialists, by their activity’s results and it

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18

Hasse Jørgensen, Stina. "* ROBOT & THE END." Peripeti 15, no. 29/30 (2018): 156–69. http://dx.doi.org/10.7146/peri.v15i29/30.109640.

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In this article, I present a critical comparative reading of the experiences of gender promoted by media performances that make use of synthesized voices in relation to the 3D animated vocaloid performance THE END (2012) and the multimedia dance performance ROBOT (2013). I argue that the staging of synthesized voices in THE END promotes a gender performativity of the heteronormative gender binary, creating a sexualized fetishization of the technological body. ROBOT, on the other hand, as a media performance utilizes the audio-visual bsody of a little robot to subvert gender stereotypes, demons

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19

Sabo, Adriana. "Hatsune Miku: Whose Voice, Whose Body?" INSAM Journal of Contemporary Music, Art and Technology, no. 2 (July 15, 2019): 65–80. http://dx.doi.org/10.51191/issn.2637-1898.2019.2.2.65.

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This paper focuses on certain aspects of the Hatsune Miku phenomenon, a highly popular Vocaloid character from Japan. Hatsune Miku began her “life” as a software for vocal synthesis released by Crypton Future Media Inc., and has, since her first “birthday”, become a virtual pop star. Despite being a fictional character, Miku takes on many of the traits a human has. She exists in a realm between human and artificial, mass media and personal space, between real and fantastic. This paper will discuss some basic information about Hatsune Miku and her large fan base, the issues of gender performati

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Sá, Michele Eduarda Brasil de. "Teatro Kabuki: das origens à contemporaneidade." Estudos Japoneses, no. 38 (August 9, 2017): 97–108. http://dx.doi.org/10.11606/issn.2447-7125.v0i38p97-108.

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Este trabalho objetiva estudar o gênero kabuki, partindo de um panorama histórico para então comentar algumas performances recentes, como a do ator Kirk Nishikawa Dixon no filme curto “The Lion” e o denominado chôkabuki (que significa, literalmente, “super kabuki”), apresentando Konjaku Hana Kurabe Senbonzakura (“A festa das mil cerejeiras de ontem e de hoje”), com Shidô Nakamura e a vocaloid Hatsune Miku, um dos maiores ícones pop da atualidade no Japão. Discorre-se sobre a adaptabilidade do gênero kabuki e as características que permaneceram em meio a tantas mudanças: o papel do ator e sua r

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21

Kim, Do Hee. "A Study for Characteristic Analysis of Vocaloid Virtual Character - Focused on Idol Character Hatsune Miku -." Journal of The Korean Society of Illustration Research 56 (September 30, 2018): 27–36. http://dx.doi.org/10.37379/jksir.2018.56.3.

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22

BEREZNEVA, Irinа. "MODERN APPROACHES TO LEARNING SPECIAL MILITARY VOCALOID IN ENGLISH LANGUAGE CLASSES IN HIGHER MILITARY EDUCATIONAL INSTITUTIONS." Humanities science current issues 1, no. 84 (2025): 253–58. https://doi.org/10.24919/2308-4863/84-1-36.

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23

Mrđenović, Maja. "Hatsune Miku: The subversive potential of a participatory-created cyberpop idol." Kultura, no. 169 (2020): 113–29. http://dx.doi.org/10.5937/kultura2069113m.

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Virtual worlds and online interactions are the base of cyberpop culture, in which consumption also causes production of meaning. It possibly can, but does not have to bring out subversive and/or activist potential. The overflow of the virtual into the spaces of physical reality, by use of technologies as gestural interfaces, holographic projections and the like, allows direct bodily interactions with virtual objects. Some of these objects are so-called virtual idols. Their appearance, identity and celebrity status are constructed and assigned by real people in the real world. This paper analys

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24

Reehl, Duncan. "Musicalizing the Heart Sutra: Buddhism, Sound, and Media in Contemporary Japan." Religions 12, no. 9 (2021): 759. http://dx.doi.org/10.3390/rel12090759.

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In Japan, explicitly religious content is not commonly found in popular music. Against this mainstream tendency, since approximately 2008, ecclesiastic and non-ecclesiastic actors alike have made musical arrangements of the Heart Sutra. What do these musical arrangements help us to understand about the formation of Buddhist religiosity in contemporary Japan? In order to answer these questions, I analyze the circulation of these musical arrangements on online media platforms. I pursue the claim that they exhibit significant resonances with traditional Japanese Buddhist practices and concepts, w

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Damar, Vicio Rizky, and Markus Hartono. "The impact of supply chain partnership and market driven strategy on consumer behavior in buying Vocaloid Hatsune Miku products." MATEC Web of Conferences 204 (2018): 01010. http://dx.doi.org/10.1051/matecconf/201820401010.

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Hatsune Miku is the first virtual singer who is currently achieving success, even up to the world level. Miku has a large number of fansbase, like a famous singer. Its popularity also helps Crypton Future Media, as the company maker of Miku, to collaborate, forming a supply chain partnership with several big companies, to bring Miku into real products, which fans can have. This literature review explores this literature study explores Miku's development ever since it was created, until it became famous, and gave rise to a unique supply chain partnership. Researcher using systematic literature

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КУПЧИК, Валентин, Тетяна МАЗУР та Василь СЕМЕНЧУК. "СУЧАСНІ АСПЕКТИ ВОКАЛЬНОГО МИСТЕЦТВА: ВІД ТРАДИЦІЙ ДО ІННОВАЦІЙ". Fine Art and Culture Studies, № 1 (24 квітня 2025): 113–19. https://doi.org/10.32782/facs-2025-1-16.

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Стаття присвячена комплексному дослідженню еволюції вокального мистецтва, простежуючи його розвиток від традиційних форм, що сформувалися в історичному контексті, до сучасних інноваційних практик, які активно трансформують цей вид мистецтва у XXI столітті. Метою роботи є детальний аналіз ключових тенденцій у вокальному виконавстві, зумовлених як багатовіковими традиціями, так і впливом новітніх технологічних досягнень, що змінюють підходи до створення та сприйняття вокальної музики. У дослідженні застосовано історико-аналітичний метод для вивчення етапів розвитку вокального мистецтва, компарат

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Teniswood-Harvey, Arabella. "Presence, absence, distance and intimacy: How do virtual classical music concerts rate against the wonders of the musical metaverse?" Virtual Creativity 13, no. 1 (2023): 29–47. http://dx.doi.org/10.1386/vcr_00073_1.

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Disruptions to live performance caused by the recent pandemic have fuelled a surge in virtual concerts, impacting both classical and popular music. This article explores ways in which audio-visual media have been used during the pandemic to maintain the live performance of classical music, through comparison with recent examples of virtual creativity in popular music (including performances by virtual artists in virtual spaces, Vocaloid and holographic concerts). Insights into audience experience are revealed: the benefits of engaging with music performance through online platforms include opp

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Kyrychenko, Alуona. "Virtual Reality Technology for Contemporary Concert Shows." Issues in Cultural Studies, no. 36 (December 28, 2020): 206–18. https://doi.org/10.31866/2410-1311.36.2020.221068.

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The purpose of the article is to characterise contemporary concert shows in the context of virtual reality technology. The research methodology is based on the application of an interdisciplinary approach to the analysis of concert shows; the theoretical approach is to study scientific literature; analytical and comparative are to determine the influence of the technological component on the direction of contemporary shows. The scientific novelty lies in the fact that virtual technology integrated into a concert show is considered for the first time. Conclusions. Virtual/augmented reality tech

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TSYSARSKYI, Volodymyr. "FEATURES, PROBLEMS, AND PROSPECTS OF USING ARTIFICIAL INTELLIGENCE IN THE CONTEMPORARY ART FIELD: WRITING, FINE ARTS, VOICE ACTING." ART Space 1, no. 4 (2024): 154–82. http://dx.doi.org/10.28925/2519-4135.2024.49.

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This article describes most things related to the rapidly developing Artificial Intelligence which use Neural networks to create all sorts of stunning things. The article covers what exactly Artificial Intelligence is, its short history of development and some techniques it uses. Next comes AI-image generation, which is quite popular right now as it opens possibilities that artist have dreamt for a long time. In the world of fine arts, AI algorithms inspire artists by offering fresh perspectives, styles, and techniques. Here the main advantages of using such AI is described, why it suddenly be

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Michaud, Alyssa. "Locating liveness in holographic performances: technological anxiety and participatory fandom at Vocaloid concerts." Popular Music, March 21, 2022, 1–19. http://dx.doi.org/10.1017/s0261143021000660.

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Abstract This article addresses the growing global phenomenon of automated holographic concerts given by virtual pop stars called ‘Vocaloids’. Alternately acclaimed by music journalists as ‘the future of music’ and derided as ‘a robo-show, a concert simulacrum’, Vocaloid concerts across the past 10 years have sparked feelings of anxiety and prompted debate about the loss of human interaction at pre-programmed concerts. In this article, I extend Vocaloid research from recent work that addresses Vocaloid's creative online community into the middle of arenas of screaming fans, drawing on particip

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Ng Man Chuen, Caitlyn. "Girl-instrument: Posthumanism, producers, and virtual performers in Japanese music." International Journal of Cultural Studies, August 16, 2024. http://dx.doi.org/10.1177/13678779241273459.

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Vocal synthesizer programs such as Vocaloid use artificial intelligence to create humanlike vocal tracks without human singers. These programs often tie their voice banks to animated avatars, making each user-created song a part of a never-ending oeuvre of work for a distinct virtual performer. These avatars can not only be used in images and video, but also in augmented reality concerts through semi-transparent LED screens that make it look like these animated virtual performers are performing live. ‘Vocaloid’ then is not only a software or a genre of music created using that software, but al

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Tomkinson, Sian. "“This kind of life has no meaning”." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3037.

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Voice synthesising software Vocaloid (Yamaha Corporation) is a popular tool for professional and amateur music production. At the time of writing, there are over 770,000 videos tagged ‘vocaloid’ on Niconico; karaoke chain Karatez displays the top five thousand tracks on its Website (Karatetsu); Hatsune Miku Wiki has over 59,000 pages, while the Vocaloid Lyrics Wiki has over 90,000. Vocaloid is part of Japan’s unique media mix, comprising of the software and music but also official collaborations and a significant amount of fan culture. However, while there is academic research on the way that

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Winny, Paramita. "KONTRIBUSI VOCALOID DALAM PERKEMBANGAN MUSIK DOUJIN DI JEPANG." Media Bahasa, Sastra, dan Budaya Wahana 1, no. 13 (2008). http://dx.doi.org/10.33751/wahana.v1i13.671.

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AbstractParamita Winny HapsariThis research uses descriptive method with qualitative approach. This study would like to see the contribution of VOCALOID to the development of doujin music in Japan. Japan with a high level of creativity can make innovations in various things, let alone music. VOCALOID as one of the ways of Japanese innovation in creating a musical masterpiece. VOCALOID is a sound synthesis software that enables users who do not have a vocalist to be able to create the song intact. Doujin works as indie works. Music doujin is a sub category of doujin. VOCALOID-based music is dif

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Hapsari, Paramita Winny, Sudung M. Manurung, and Putri Andam. "PERILAKU KONSUMSI DAN PRODUKSI KOMUNITAS PENGGEMAR MUSIK VOCALOID DI JEPANG 2008-2012." Media Bahasa, Sastra, dan Budaya Wahana 1, no. 12 (2018). http://dx.doi.org/10.33751/wahana.v1i12.662.

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AbstractThis thesis discusses about fan culture, as seen from the behavior of consumption, production patterns and fans motivations, especially from the VOCALOID music fans in Japan. VOCALOID is a current phenomenon in Japan, which started since the outbreak of software called Desktop Music. VOCALOID fans have formed large communities that can be called a fandom. The purpose of this study is to analyze the behavior of consumption and production patterns made by commu- nity of VOCALOID music fans as well as their motivation to like the music as a fan culture. This VOCALOID music fans are differ

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Anderson, Natasha. "Hatsune Miku, Virtual Idols, and Transforming the Popular Music Experience." MUSIC.OLOGY.ECA, October 11, 2021. http://dx.doi.org/10.2218/music.2021.6478.

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This essay aims to discuss the various ways that virtual idols have transformed music production, consumption, and performance in our digital society. Vocal synthesisers like Vocaloid have given amateur musicians accessibility into the industry, pushing the limits of vocal capability and preservation, and resulting in a worldwide fandom which utilises Vocaloid characters in diverse ways. Virtual idols bear resemblance to real-life Japanese idols, yet they manage to circumvent the often-strict lifestyles idols face while also playing into tropes surrounding otaku culture. It concludes by discus

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Kenmochi, Hideki. IEICE Communications Society Magazine 6, no. 4 (2013): 336–41. http://dx.doi.org/10.1587/bplus.6.336.

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Franklin, Tamiko Rochelle. "Intellectual Property, Personality Rights, and Artificial Intelligence: Chatbots, Robots, and Vocaloids, oh my...." SSRN Electronic Journal, 2023. http://dx.doi.org/10.2139/ssrn.4611395.

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Hui, Jessica Tsun Lem. "Reconfiguring Voice in The End: Virtuosity, Technological Affordance and the Reversibility of Hatsune Miku in the Intermundane." Cambridge Opera Journal, December 19, 2022, 1–16. http://dx.doi.org/10.1017/s0954586722000301.

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Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides

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Guesdon, Maël, and Philippe Le Guern. "Tra sintesi vocale e divizzazione olografica Alcune considerazioni sul caso Hatsune Miku." De Musica, December 16, 2021. http://dx.doi.org/10.54103/2465-0137/16870.

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Sviluppato e distribuito nel 2007 per promuovere la seconda versione del software Vocaloid, Hatsune Miku è diventato rapidamente un fenomeno proteiforme. Innanzitutto, Hatsune Miku è un sistema di voce sintetica che lo spettatore-ascoltatore può utilizzare per creare e condividere composizioni personalizzate. In secondo luogo, è una celebrità olografica che appare in concerti dal vivo, nonché l'eroina di una serie di videogiochi project DIVA. In terzo luogo, è la protagonista di numerosi titoli di fan fiction. Infine, dal 2013, è anche la cantante principale di un’opera. In questo articolo ci

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March, Lucy. "Wrap You Up in My Blue Hair”: Vocaloid, Hyperpop, and Identity in “Ashnikko Feat. Hatsune Miku – Daisy 2.0”." Television & New Media, May 13, 2022, 152747642210935. http://dx.doi.org/10.1177/15274764221093599.

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In 2020, hyperpop artist Ashnikko released a remix of her single “Daisy” with virtual idol Hatsune Miku. While the rights to any commercial use of Miku’s voice and likeness are owned by Crypton Future Media, anyone with Vocaloid software can produce songs for her. While scholars have found that fan-produced performances are foundational to Miku’s development as a performer, less attention has been paid to how intercultural commercial ventures have shaped her identity. This paper employs a textual analysis of the “Daisy 2.0” music video and an observation of comments posted on the video’s YouTu

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Parode, Fábio Pezzi, and Maximiliano Zapata. "Comunicação e ciberestética." Intexto, no. 57 (February 19, 2025). https://doi.org/10.19132/1807-8583.57.141279.

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O presente artigo propõe uma reflexão crítica acerca dos processos de intermidiação e gerativos de sentidos, tendo como articulação os dispositivos digitais e a inteligência artificial. Problematiza os processos de comunicação de massa, cultura e mídia, questionando os efeitos de sentido na sociedade de uma tal articulação entre ciberespaço e consumo. O objeto de estudo proposto delineia-se a partir do vocaloid virtual japonês, Hatsune Miku, derivando para outros dispositivos digitais, como os Deep Real, ou seja, avatares jornalistas articulados com inteligência artificial. De forma especulati

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Berryman, Rachel, Crystal Abidin, and Tama Leaver. "A TOPOGRAPHY OF VIRTUAL INFLUENCERS." AoIR Selected Papers of Internet Research, September 15, 2021. http://dx.doi.org/10.5210/spir.v2021i0.12145.

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Informed by my first six months of doctoral research, this paper offers a topography of virtual influencers that at once acknowledges their continuation of and breaking with the precedents of a lineage of “virtual beings” who have achieved celebrity status. Responding to the ahistoricism of much recent commentary, it draws on archival press and web research to situate virtual influencers at the intersection of technological advancements, discourses, and anxieties similarly characterising Hollywood’s “synthespians” at the turn of the twenty-first century; the legacy of “virtual idols” in East A

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Nishiyama, Rina, and Tetsushi Nonaka. "Can a human sing with an unseen artificial partner? Coordination dynamics when singing with an unseen human or artificial partner." Frontiers in Robotics and AI 11 (December 9, 2024). https://doi.org/10.3389/frobt.2024.1463477.

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This study investigated whether a singer’s coordination patterns differ when singing with an unseen human partner versus an unseen artificial partner (VOCALOID 6 voice synthesis software). We used cross-correlation analysis to compare the correlation of the amplitude envelope time series between the partner’s and the participant’s singing voices. We also conducted a Granger causality test to determine whether the past amplitude envelope of the partner helps predict the future amplitude envelope of the participants, or if the reverse is true. We found more pronounced characteristics of anticipa

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Berryman, Rachel, Crystal Abidin, Do Own Donna Kim, Seol Hwang, and Esperanza Miyake. "VIRTUAL CELEBRITY INDUSTRIES IN EAST ASIA." AoIR Selected Papers of Internet Research, January 2, 2025. https://doi.org/10.5210/spir.v2024i0.14096.

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The concept of virtual celebrity realises the ambition of manufactured pop idols that inspired Japan’s idol industry in the 1970s, and spread across East Asia soon thereafter. Today, the term encompasses a variety of genres with local histories and applications, including Vocaloids, virtual idols, vTubers, virtual anchors, and virtual influencers. Although virtual celebrity was once considered a niche interest reserved for $2 and dedicated fans of ACG (Anime, Comics and Games), recent shifts in government priorities, technological innovations, and heightened capital investment have brought vir

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Freixes, Marc, Francesc Alías, and Joan Claudi Socoró. "A unit selection text-to-speech-and-singing synthesis framework from neutral speech: proof of concept." EURASIP Journal on Audio, Speech, and Music Processing 2019, no. 1 (2019). http://dx.doi.org/10.1186/s13636-019-0163-y.

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AbstractText-to-speech (TTS) synthesis systems have been widely used in general-purpose applications based on the generation of speech. Nonetheless, there are some domains, such as storytelling or voice output aid devices, which may also require singing. To enable a corpus-based TTS system to sing, a supplementary singing database should be recorded. This solution, however, might be too costly for eventual singing needs, or even unfeasible if the original speaker is unavailable or unable to sing properly. This work introduces a unit selection-based text-to-speech-and-singing (US-TTS&S) syn

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Udakarn, Norrasate. "An Exploratory Analysis of how Vocaloid’s Synthesized Vocals can be used as an Innovative Music Education Method in Teaching Sight–Singing." Pakistan Journal of Life and Social Sciences (PJLSS) 22, no. 2 (2024). http://dx.doi.org/10.57239/pjlss-2024-22.2.00668.

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Holland, Travis, Michelle O'Connor, and David Marshall. "Audio." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3046.

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Like fire, radio waves are a natural, physical phenomenon. Like fire, humans have learned to control radio waves for our own purposes. Human civilisation itself may be predicated on our ability to conceive of and control sound in extraordinarily complex ways within our own bodies – a development that gave rise to rich oral cultures the world over and facilitated our ability to cooperate within and beyond our immediate social groups. In turn, radio waves are a finite natural resource that can be harnessed by various pieces of technology for transmission well beyond the immediate. The etymology

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