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A rare opportunity to glimpse a bit of the man behind the monumental novels. -- Chicago Tribune Powerful and deeply personal. May 27, 2009 - Currently, I'm reading a series of lectures by Chinua Achebe called Home and Exile. The first lecture, 'My Home Under Imperial Fire,' is about the legacy of colonialism and the Trans-Atlantic Slave Trade on 'African Literature.' He shows how certain texts, which are often held up as shining examples of. Author by: Chinua Achebe Language: en Publisher by: Oxford University Press Format Available: PDF, ePub, Mobi Total Read: 99 Total Download: 615 File Size: 47,6 Mb Description: Chinua Achebe is Africa's most prominent writer, the author of Things Fall Apart, the best known--and best selling--novel ever to come out of Africa. His fiction and poetry burn with a passionate commitment to political justice, bringing to life not only Africa's troubled encounters with Europe but also the dark side of contemporary African political life. Now, in Home and Exile, Achebe reveals the man behind his powerful work. Here is an extended exploration of the European impact on African culture, viewed through the most vivid experience available to the author--his own life. It is an extended snapshot of a major writer's childhood, illuminating his roots as an artist. Achebe discusses his English education and the relationship between colonial writers and the European literary tradition. He argues that if colonial writers try to imitate and, indeed, go one better than the Empire, they run the danger of undervaluing their homeland and their own people. Achebe contends that to redress the inequities of global oppression, writers must focus on where they come from, insisting that their value systems are as legitimate as any other. Stories are a real source of power in the world, he concludes, and to imitate the literature of another culture is to give that power away. Home and Exile is a moving account of an exceptional life. Achebe reveals the inner workings of the human conscience through the predicament of Africa and his own intellectual life. It is a story of the triumph of mind, told in the words of one of this century's most gifted writers. Author by: Woods, Joanna Language: en Publisher by: Langaa RPCIG Format Available: PDF, ePub, Mobi Total Read: 61 Total Download: 784 File Size: 47,9 Mb Description: This book is about home. With Malawi as its focus, it seeks to understand ideas about home as expressed through poetry written by Malawians in English. Although African Literatures are studied those of Malawi have not received agreeable attention. This book surveys poetry by five Malawian writers – Felix Mnthali, Frank Chipasula, Jack Mapanje, Lupenga Mphande, and Steve Chimombo. The discussion negotiates scribed experience of exile, engendered by Dr. Banda’s regime, and shows that the selected poets effectively converse with a sense of home, reflecting on its transformations in their work. Interrogating the strict definitions of home, the argument highlights that far from home-less exiles in fact clarify the sense of what ‘home’ is. The manoeuvre is one of thinking towards an unboundaried ‘home’. This book will be of value not only to readers interested in the cultures of Africa but to all those with an interest in worldwide literary phenomena, and ideas therein of home and exile. Author by: Sylvia Angelique Alajaji Language: en Publisher by: Indiana University Press Format Available: PDF, ePub, Mobi Total Read: 89 Total Download: 550 File Size: 44,9 Mb Description: Survivors of the Armenian genocide of 1915 and their descendants have used music to adjust to a life in exile and counter fears of obscurity. In this nuanced and richly detailed study, Sylvia Angelique Alajaji shows how the boundaries of Armenian music and identity have been continually redrawn: from the identification of folk music with an emergent Armenian nationalism under Ottoman rule to the early postgenocide diaspora community of Armenian musicians in New York, a more self-consciously nationalist musical tradition that emerged in Armenian communities in Lebanon, and more recent clashes over music and politics in California. Alajaji offers a critical look at the complex and multilayered forces that shape identity within communities in exile, demonstrating that music is deeply enmeshed in these processes. Multimedia components available online include video and audio recordings to accompany each case study. Author by: Felix Kobla Wornameh Language: en Publisher by: Author House Format Available: PDF, ePub, Mobi Total Read: 14 Total Download: 451 File Size: 51,6 Mb Description: Mr Almond pays with his life when he refuses to give away his four young daughters in forced marriage to a tribal rebel leader. His young daughters, Alima, fifteen; Benatu, twelve; Tabata, thirteen and the youngest, Koshi, who was hearing-impaired, age eleven, have no choice; they must don male disguises and identities in order to stand a chance of escape in search of a new home. At dawn, the planning takes a hasty few minutes. The girls arrive at a chosen destination and a preferred route, but a gruesome journey across the largest and deadliest desert on earth awaits them, not to mention that they will be faced with the stiff challenges of sneaking through Sharia and war-ravaged countries, like the Sudan, Chad, and Algeria, where young unmarried women are forbidden from walking alone in public. For lack of options, the girls join other migrants to battle the vertical kilometres of the 3,000-foot Ahaggar Mountains. The relentless trek day and night through the rocky arid landscape via Libya into Europe becomes even more dangerous. The more they venture, the further away they find themselves – from each other, from their dreams, from themselves. Benatu unexpectedly ends up in a deadly snare, whereas Alima finds herself strangely stranded. Despite their hopelessness, the Almonds count on hope with a strong determination for vengeance. Then the unexpected happens again! Author by: Russell Jeung Language: en Publisher by: Zondervan Format Available: PDF, ePub, Mobi Total Read: 21 Total Download: 664 File Size: 52,8 Mb Description: Russell Jeung’s spiritual memoir shares the joyful and occasionally harrowing stories of his life in East Oakland’s Murder Dubs neighborhood—including battling drug dealers who threatened him, exorcising a spirit possessing a teen, and winning a landmark housing settlement against slumlords with 200 of his closest Cambodian and Latino friends. More poignantly, At Home in Exile weaves in narratives of longing and belonging as Jeung retraces the steps of his Chinese-Hakka family and his refugee neighbors. In the face of forced relocation and institutional discrimination, his family and friends resisted time and time again over six generations. With humor and keen insight, At Home in Exile will help you see how living in exile will transform your faith. Author by: Katsuo Takeda Language: en Publisher by: Seven Mile Publishing Format Available: PDF, ePub, Mobi Total Read: 62 Total Download: 945 File Size: 45,8 Mb Description: Episode 5: Home, In ExileTrip returns to Foothold to find Ven and his crew have been merged with his old squad. Worse, Ven has been appointed as the new squad leader. As trip comes to terms with this new predicament, Anuja confronts him about his mysterious ancestry and present Trip with the opportunity to pilot an prototype battle suit, enhanced to fight the Otruk aliens on equal footing. Self-doubt and fear grip Trip, as he struggles with the thought of fighting the Otruk Orchid, Elise, on the battlefield again. Author by: Alan Wolfe Language: en Publisher by: Beacon Press Format Available: PDF, ePub, Mobi Total Read: 11 Total Download: 151 File Size: 48,8 Mb Description: To validate life in diaspora has been akin to heresy for many Jewish thinkers since the beginnings of Zionism in the late 19th century. Early Zionist thinkers wrote with disdain and even cruelty of Jews living out their lives in the Pale of Settlement (a life of pointless struggle and futile suffering) and of the successful, cultured Jews of Germany (court Jews) alike. Even after the Holocaust, many Zionists wrote disparagingly of those Jews who hadn't left Europe before the war. This thinking, in more understated form, continues to influence Jewish life: only in Israel is it possible for Jews to flourish fully as human beings. At the same time, the Holocaust created a sense of unique vulnerability. In At Home in Exile Alan Wolfe argues that against this narrow nationalism a prophetic universalism may once again take hold in Judaism, and asks whether this universalism should be reject Zionism entirely or strive to make it better. Nov 12, 2009 QD3 On The Carter Documentary. Posted By: B.Dot. The movie captures Wayne’s recording process and everyday life surrounding the release of Tha Carter 3. Charter Communications says it plans to more than triple customers’ Internet speeds in metro St. Louis as it rebrands its products under the “Charter Spectrum” name. The company, which dominates pay-TV and Internet service here, says the speed of its entry-level Internet service will rise from 30 megabits-per-second to 100 mbps on June 16 as it rolls out the. There will be no extra charge for the faster service, Charter said. The upgrade follows Charter’s conversion to an all-digital network in January. By requiring cable boxes for all TV customers, Charter freed up more space on its cable pipe. The company says it spent more than $170 million to upgrade its Missouri and Illinois network and $2 billion nationwide. In wrapping its services under the Spectrum brand, Charter is following a marketing strategy used by national competitors. AT&T, for instance, uses the U-verse brand for its fast cable and pay-TV service, Verizon uses FiOS. Spectrum will offer new for watching 130 TV channels on tablet computers and mobile devices. Even under today’s 30 mbps basic service, customers may actually experience lower Internet speeds. Interference from neighboring networks, baby monitors, cordless phones and wireless speakers among other things can degrade service, a Charter spokesman said in an email. Wi-Fi routers can also slow Internet service. Through most of the St. Louis area, AT&T is Charter’s biggest competitor in pay-TV Internet and phone service. Louis is on a list of 21 cities that AT&T is considering for its fiber-based “U-verse with GigaPower” program, which would expand Internet speed to one gigabit. Louis is chosen, AT&T would place Gigabit service in Chesterfield, Edwardsville, Florissant, Granite City, and St. Louis and possibly other cities. AT&T said it will choose areas with good network facilities, good anticipated demand and “the most receptive policies.” An AT&T spokesman said she could not immediately comment on the Charter move. Editors Note; This story was changed to correct the name 'U-Verse with GigaPower.' CheckABookout says: Timmy Turner is getting ready to watch the season finale of Crash Nebula, until the TV cuts off. The result has also caused Cosmo and Wanda's wish powers to vanish. They soon learned that someone has stolen the sacred jewel, and is using it to sabotage the local TV station, Channel 13. And they also find out that this evil will be stopped with the help of the Fairyversary Muffin. Over 100k console ROMs and ISOs ready to download for free. Broken Sword - The Shadow of the Templars (E)(Venom), Gameboy Advance (GBA)? Broken Sword - The Shadow of the. 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More importantly, this band -- which also included drummer and bassist -- had it right on November 29, 1957, at Carnegie Hall. The on this date is far more assured than he had been four months earlier on the Five Spot date and on the initial Prestige side. He'd been with for four months and had absorbed his complex, multivalent musical system completely. It's clear from the opening track, 'Monk's Mood,' where the pair play in duet, that is confident and moving into his own. Feels that confidence with his nearly Baroque entrance on the tune. This is a hard-swinging band with two front-line players who know how to get the best from one another. Knows the music inside out and his solos reflect an early version of his sheets of sound methodology. Check the joyous 'Crepuscule with Nellie' for the hard evidence. 's cue and 's arpeggios are wondrous, swinging, and full of fire and joy. 's fills on the melody that leads into his solo are simply revelatory, and the solo itself is brilliant. Or check 's cymbal work on 'Nutty' before the band kicks it in full force. Even on the knottiest of 's tunes, 'Epistrophy,' shines and takes charge of his instrument while being utterly receptive to the continual shape-shifting put into his compositions in a live setting. There are nine tunes here (an incomplete version of 'Epistrophy' finishes the set) taken from early and late performances. These 51 minutes of music leave the date in the dust. This is one of those 'historic' recordings that becomes an instant classic and is one of the truly great finds in jazz lore. It documents a fine band with its members at the peak of their powers together. The package also contains voluminous liner notes by the likes of,, Ashley Khan,, and others. This is a must-have. ![]() Mounting debt crisis may be good news for tourists. The crisis has depressed prices and made Greece a better bargain for Americans. 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Recommended text: Speech Synthesis and Recognition, Holmes, 2nd edition (paperback, 256 pp., 2001) [Holmes]. Reference texts. Speech Synthesis And Recognition Holmes Pdf To Jpg. In Favor of Niceness, Community, and Civilization. Although I strongly disagree with him on the point at issue. Page 116 Models of Speech Synthesis Rolf Carlson SUMMARY The term 'speech synthesis' has been used for diverse technical approaches. In this paper, some of the approaches used to generate synthetic speech in a text-to-speech system are reviewed, and some of the basic motivations for choosing one method over another are discussed. It is important to keep in mind, however, that speech synthesis models are needed not just for speech generation but to help us understand how speech is created, or even how articulation can explain language structure. General issues such as the synthesis of different voices, accents, and multiple languages are discussed as special challenges facing the speech synthesis community. INTRODUCTION The term 'speech synthesis' has been used for diverse technical approaches. Unfortunately, any speech output from computers has been claimed to be speech synthesis, perhaps with the exception of playback of recorded speech. 1 Some of the approaches used to gen- 1 The foundations for speech synthesis based on acoustical or articulatory modeling can be found in Fant (1960), Holmes et al. (1964), Flanagan (1972), Klatt (1976), and Allen et al. The paper by Klatt (1987) gives an extensive review of the developments in speech synthesis technology. Page 117 erate true synthetic speech as well as high-quality waveform concatenation methods are presented below. Knowledge About Natural Speech Synthesis development can be grouped into three main categories: acoustic models, articulatory models, and models based on the coding of natural speech. The last group includes both predictive coding and concatenative synthesis using speech waveforms. Acoustic and articulatory models have had a long history of development, while natural speech models represent a somewhat newer field. The first commercial systems were based on the acoustic terminal analog synthesizer. However, at that time, the voice quality was not good enough for general use, and approaches based on coding attracted increased interest. Articulatory models have been under continuous development, but so far this field has not been exposed to commercial applications due to incomplete models and high processing costs. We can position the different synthesis methods along a 'knowledge about speech' scale. Obviously, articulatory synthesis needs considerable understanding of the speech act itself, while models based on coding use such knowledge only to a limited extent. All synthesis methods have to model something that is partly unknown. Unfortunately, artificial obstacles due to simplifications or lack of coverage will also be introduced. A trend in current speech technology, both in speech understanding and speech production, is to avoid explicit formulation of knowledge and to use automatic methods to aid the development of the system. Since such analysis methods lack the human ability to generalize, the generalization has to be present in the data itself. Thus, these methods need large amounts of speech data. Models working close to the waveform are now typically making use of increased unit sizes while still modeling prosody by rule. In the middle of the scale, 'formant synthesis' is moving toward the articulatory models by looking for 'higher-level parameters' or to larger prestored units. Articulatory synthesis, hampered by lack of data, still has some way to go but is yielding improved quality, due mostly to advanced analysis-synthesis techniques. Flexibility and Technical Dimensions The synthesis field can be viewed from many different angles. We can group the models along a 'flexibility' scale. Multilingual systems demand flexibility. Individual voices, speaking styles, and accents also need a flexible system in which explicit transformations. Page 118 can be modeled. Most of these variations are continuous rather than discrete. The importance of separating the modeling of speech knowledge from acoustic realization must be emphasized in this context. In the overview by Furui (1989), synthesis techniques are divided into three main classes: waveform coding, analysis-synthesis, and synthesis by rule. The analysis-synthesis method is defined as a method in which human speech is transformed into parameter sequences, which are stored. The output is created by a synthesis based on concatenation of the prestored parameters. In a synthesis-by-rule system the output is generated with the help of transformation rules that control the synthesis model such as a vocal tract model, a terminal analog, or some kind of coding. It is not an easy task to place different synthesis methods into unique classes. Some of the common 'labels' are often used to characterize a complete system rather than the model it stands for. A rule-based system using waveform coding is a perfectly possible combination, as is speech coding using a terminal analog or a rule-based diphone system using an articulatory model. In the following pages, synthesis models will be described from two different perspectives: the sound-generating part and the control part of the system. The Sound-Generating Part The sound-generating part of the synthesis system can be divided into two subclasses, depending on the dimensions in which the model is controlled. A vocal tract model can be controlled by spectral parameters such as frequency and bandwidth or shape parameters such as size and length. The source model that excites the vocal tract usually has parameters to control the shape of the source waveform. The combination of time-based and frequency-based controls is powerful in the sense that each part of the system is expressed in its most explanatory dimensions. A drawback of the combined approach can be that it makes interaction between the source and the filter difficult. However, the merits seem to outweigh the drawbacks. Simple Waveform Concatenation The most radical solution to the synthesizer problem is simply to have a set of prerecorded messages stored for reproduction. Simple coding of the speech wave might be performed in order to reduce the amount of memory needed. The quality is high, but the usage is limited to applications with few messages. If units smaller than sentences are used, the quality degenerates because of the problem of. Page 119 connecting the pieces without distortion and overcoming prosodic inconsistencies. One important and often forgotten aspect in this context is that a vocabulary change can be an expensive and timeconsuming process, since the same speaker and recording facility have to be used as with the original material. The whole system might have to be completely rebuilt in order to maintain equal quality of the speech segments. Analysis-Synthesis Systems Synthesis systems based on coding have as long a history as the vocoder. The underlying philosophy is that natural speech is analyzed and stored in such a way that it can be assembled into new utterances. Synthesizers such as the systems from AT&T Bell Labs (Olive, 1977, 1990; Olive and Liberman, 1985), Nippon Telephone & Telegraph (NTT) (Hakoda et al., 1990; Nakajima and Hamada, 1988) and ATR Interpreting Telephone Research Laboratories (ATR) (Sagisaka, 1988; Sagisaka et al., 1992) are based on the source-filter technique where the filter is represented in terms of linear predictive coding (LPC) or equivalent parameters. This filter is excited by a source model that can be of the same kind as the one used in terminal analog systems. The source must be able to handle all types of sounds: voiced and unvoiced vowels and consonants. Considerable success has been achieved by systems that base sound generation on concatenation of natural speech units (Moulines et al., 1990). Sophisticated techniques have been developed to manipulate these units, especially with respect to duration and fundamental frequency. The most important aspects of prosody can be imposed on synthetic speech without considerable loss of quality. The pitch-synchronous overlap-add approach (PSOLA) (Charpentier and Moulines, 1990) methods are based on concatenation of waveform pieces. The frequency domain approach (FD-PSOLA) is used to modify the spectral characteristics of the signal; the time domain approach (TD-PSOLA) provides efficient solutions for real-time implementation of synthesis systems. Earlier systems like SOLA (Roucos and Wilgus, 1985) and systems for divers' speech restoration also did direct processing of the waveform (Liljencrants, 1974). Figure 1 shows the basic function of a PSOLA-type system. A database of carefully selected utterances is recorded, and each pitch period is marked. The speech signal is split into a sequence of windowed samples of the speech wave. At resynthesis time the waveforms are added according to the desired pitch, amplitude, and duration. Page 120 Source Models The traditional source model for the voiced segments has been a simple or double impulse. This is one reason why text-to-speech systems from the 1980s have had serious problems, especially when different voices are modeled. While the male voice sometimes has been regarded to be generally acceptable, an improved glottal source will open the way to more realistic synthesis of child and female voices and also to more naturalness and variation in male voices. Most source models work in the time domain with different controls to manipulate the pulse shape (Ananthapadmanabha, 1984; Hedelin, 1984; Holmes, 1973; Klatt and Klatt, 1990; Rosenberg, 1971). One version of such a voice source is the LF-model (Fant et al., 1985). It has a truncated exponential sinusoid followed by a variable cut-off-6dB/ octave low-pass filter modeling the effect of the return phase, that is, the time from maximum excitation of the vocal tract to complete closure of the vocal folds. Figure 2 explains the function of the control parameters. In addition to the amplitude and fundamental frequency control, two parameters influence the amplitudes of the two. Page 122 to three lowest harmonics, and one parameter influences the high-frequency content of the spectrum. Another vocal source parameter is the diplophonia parameter (Klatt and Klatt, 1990) with which creak, laryngalization, or diplophonia can be simulated. This parameter influences the function of the voiced source in such a way that every second pulse is lowered in amplitude and shifted in time. The next generation of source models has to include adequate modeling of noise excitation in order to synthesize a natural change between voiced and unvoiced segments. The work of Rothenberg (1981) can serve as a guide for future implementations. In some earlier work at the Royal Institute of Technology (KTH), we were able to use a model that included a noise source (Rothenberg et al., 1975). High-quality synthesis of extralinguistic sounds such as laughter could be produced with this model in addition to reasonable voiced-unvoiced transitions. The acoustic interactions between the glottal source and the vocal tract also must be considered (Bickley and Stevens, 1986). One of the major factors in this respect is the varying bandwidth of the formants. This is especially true for the first formant, which can be heavily damped during the open phase of the glottal source. However, it is not clear that such a variation can be perceived by a listener (Ananthapadmanabha et al., 1982). Listeners tend to be rather insensitive to bandwidth variation (Flanagan, 1972). In more complex models the output is glottal opening rather than glottal flow. The subglottal cavities can then be included in an articulatory model. Noise sources have attracted much less research effort than the voiced source. However, some aspects have been discussed by Stevens (1971), Shadle (1985), and Badin and Fant (1989). Today, simple white noise typically is filtered by resonances that are stationary within each parameter frame. The new synthesizers do have some interaction between the voice source and the noise source, but the interaction is rather primitive. Transient sounds and aspiration dependent on vocal cord opening are still under development. Formant-Based Terminal Analog The traditional text-to-speech systems uses a terminal analog based on formant filters. The vocal tract is simulated by a sequence of second-order filters in cascade while a parallel structure is used mostly for the synthesis of consonants. One important advantage of a cascade synthesizer is the automatic setting of formant amplitudes. The disadvantage is that it sometimes can be hard to do detailed spectral matching between natural and synthesized spectra because of the. Page 123 simplified model. Parallel synthesizers such as that of Holmes (1983) do not have this limitation. The Klatt model is widely used in research for both general synthesis purposes and perceptual experiments. A simplified version of this system is used in all commercial products that stem from synthesis work at the Massachusetts Institute of Technology (MIT): MITalk (Allen et al., 1987), DECtalk, and the system at Speech Technology Laboratory (Javkin et al., 1989). An improved version of the system has been commercialized as a research vehicle by Sensimetrics Corporation (Williams et al., 1992). Similar configurations were used in the ESPRIT/Polyglot project (Boves, 1991). A formant terminal analog GLOVE (Carlson et al., 1991a), based on the OVE synthesizer (Liljencrants, 1968), has been developed at KTH and is used in current text-to-speech modeling (Carlson et al., 1982, 1991b). The main difference between these and the Klatt model is the manner in which consonants are modeled. In the OVE a fricative is filtered by a zero-pole-pole configuration rather than by a parallel system. The same is true for the nasal branch of the synthesizer. New parameters have been added to the terminal analog model so that it is now possible to simulate most human voices and to replicate an utterance without noticeable quality reduction. However, it is interesting to note that some voices are easier to model than others. Despite the progress, speech quality is not natural enough in all applications of text to speech. The main reasons for the limited success in formant-based synthesis can be explained by incomplete phonetic knowledge. It should be noted that the transfer of knowledge from phonetics to speech technology has not been an easy process. Another reason is that the efforts using formant synthesis have not explored control methods other than the explicit rule-based description. Higher-Level Parameters Since the control of a formant synthesizer can be a very complex task, some efforts have been made to help the developer. The 'higher-level parameters' (Stevens and Bickley, 1991; Williams et al., 1992) explore an intermediate level that is more understandable from the developer's point of view compared to the detailed synthesizer specifications. The goal of this approach is to find a synthesis framework to simplify the process and to incorporate the constraints that are known to exist within the process. A formant frequency should not have to be adjusted specifically by the rule developer depending on nasality or glottal opening. This type of adjustment might be better. Page 124 handled automatically according to a well-specified model. The same process should occur with other parameters such as bandwidths and glottal settings. The approach requires a detailed understanding of the relationship between acoustic and articulatory phonetics. Articulatory Models An articulatory model will ultimately be the most interesting and flexible solution for the sound-generating part of text-to-speech systems. Development is also advancing in this area, but the lack of reliable articulatory data and appropriate control strategies still presents challenges. One possible solution that has attracted interest is to automatically train neural networks to control such a synthesizer. (1993) and Bailly et al. (1991) have explored such methods. Articulatory models, now under improvement, stem from basic work carried out at such laboratories as AT&T Bell Labs, MIT, and KTH. At each time interval, an approximation of the vocal tract is used either to calculate the corresponding transfer function or to directly filter a source waveform. Different vocal tract models have been used based on varying assumptions and simplifications. The models by Flanagan et al. (1975), Coker (1976), and Mermelstein (1973) have been studied by many researchers in their development of current articulatory synthesis. The term 'articulatory modeling' is often used rather loosely. Only part of the synthesis model is usually described in physical terms, while the remaining part is described in a simplified manner. Compare, for example, the difference between a tube model that models a static shape of the vocal tract with a dynamic physical model that actually describes how the articulators move. Thus, a complete articulatory model for speech synthesis has to include several transformations. The relationship between an articulatory gesture and a sequence of vocal tract shapes must be modeled. Each shape must be transformed into some kind of tube model with its acoustic characteristics. The acoustics of the vocal tract can then be modeled in terms of an electronic network. At this point, the developer can choose to use the network as such to filter the source signal. Alternatively, the acoustics of the network can be expressed in terms of resonances that can control a formant-based synthesizer. The main difference is the domain, time, or frequency in which the acoustics is simulated. The developer has to choose at which level the controlling part of the synthesis system should connect to the synthesis model. All levels are possible, and many have been used. One of the pioneering efforts using articulatory synthesis as part of a text-to-speech system. Page 125 was done by AT&T Bell Labs (Coker, 1976). Lip, jaw, and tongue positions were controlled by rule. The final synthesis step was done by a formant-based terminal analog. Current efforts at KTH by Lin and Fant (1992) use a parallel synthesizer with parameters derived from an articulatory model. In the development of articulatory modeling for text to speech, we can take advantage of parallel work on speech coding based on articulatory modeling (Sondhi and Schroeter, 1987). This work focuses not only on synthesizing speech but also on how to extract appropriate vocal tract configurations. Thus, it will also help us to get articulatory data through an analysis-synthesis procedure. This section has not dealt with the important work carried out to describe speech production in terms of physical models. The inclusion of such models still lies in the future, beyond the next generation of text to speech systems, but the results of these experiments will improve the current articulatory and terminal analog models. THE CONTROL PART Models of segmental coarticulation and other phonetic factors are an important part of a text-to-speech system. The control part of a synthesis system calculates the parameter values at each time frame. Two main types of approaches can be distinguished: rule-based methods that use an explicit formulation of existing knowledge and library-based methods that replace rules by a collection of segment combinations. Clearly, each approach has its advantages. If the data are coded in terms of targets and slopes, we need methods to calculate the parameter tracks. The efforts of Holmes et al. (1964) and the filtered square wave approach by Liljencrants (1969) provide some classical examples in this context. To illustrate the problem, I have chosen some recent work by Slater and Hawkins (1992). The work was motivated by the need to improve the rule system in a text-to-speech system for British English. Data for the second formant frequency at the onset of a vowel after a velar stop and at the midpoint in the vowel were analyzed, and, as expected, a clear correlation between the frequencies at these positions could be noted. The data could be described by one, two, or three regression lines, depending on the need for accuracy. This could then be modeled by a set of rules. As an alternative, all data points can be listed. Unfortunately, the regression lines change their coefficients depending on a number of factors such as position and stress. To increase the coverage, we need to expand the analysis window and include more dimensions or increase the number of units. Eventually, we will reach a point where the rules become too complex. Page 126 the data collection becomes too huge. This is the point where new dimensions such as articulatory parameters might be the ultimate solution. Concatenation of Units One of the major problems in concatenative synthesis is to make the best selection of units and describe how to combine them. Two major factors create problems: distortion because of spectral discontinuity at the connecting points and distortion because of the limited size of the unit set. Systems using elements of different lengths depending on the target phoneme and its function have been explored by several research groups. In a paper by Olive (1990), a new method for concatenating 'acoustic inventory elements' of different sizes is described. The system, developed at ATR, is also based on nonuniform units (Sagisaka et al., 1992). Special methods to generate a unit inventory have been proposed by the research group at NTT in Japan (Hakoda et al., 1990; Nakajima and Hamada, 1988). The synthesis allophones are selected with the help of the context-oriented clustering (COC) method. The COC searches for the phoneme sequences of different sizes that best describe the phoneme realization. The context-oriented clustering approach is a good illustration of a current trend in speech synthesis: automatic methods based on databases. The studies are concerned with much wider phonetic contexts than before. (It might be appropriate to remind the reader of similar trends in speech recognition.) One cannot take into account all possible coarticulation effects by simply increasing the number of units. At some point, the total number might be too high or some units might be based on very few observations. In this case a normalization of data might be a good solution before the actual unit is chosen. The system will become a rule-based system. However, the rules can be automatically trained from data in the same way as speech recognition (Philips et al., 1991). Rules and Notations Development tools for text-to-speech systems have attracted considerable efforts. The publication of The Sound Pattern of English by Chomsky and Halle (1968) impelled a new kind of synthesis system based on rewrite rules. Their ideas inspired researchers to create special rule compilers for text-to-speech developments in the early 1970s. New software is still being developed according to this basic prin. Page 127 ciple, but the implementations vary depending on the developer's tastes. It is important to note that crucial decisions often are hidden in the systems. The rules might operate rule by rule or segment by segment. Other important decisions are based on the following questions: How is the backtrack organized? Can nonlinear phonology be used (Pierrehumbert, 1987), as in the systems described by Hertz (Hertz, 1991; Hertz et al., 1985) and the Institute for Perception Research (Van Leeuwen and te Lindert, 1991, 1993)? Are the default values in the phoneme library primarily referred to by labels or features? These questions might seem trivial, but we see many examples of how the explicit design of a system influences the thinking of the researcher. Automatic Learning Synthesis has traditionally been based on very labor-intensive optimization work. Until recently, the notion of analysis by synthesis had been explored mainly by manual comparisons between hand-tuned spectral slices and a reference spectrum. The work of Holmes and Pearce (1990) is a good example of how to speed up this process. With the help of a synthesis model, spectra are automatically matched against analyzed speech. Automatic techniques, such as this, will probably also play an important role in making speaker-dependent adjustments. One advantage of these methods is that the optimization is done in the same framework as that to be used in the production. The synthesizer constraints are thus already imposed in the initial state. Methods for pitch-synchronous analysis will be of major importance in this context. Experiments such as the one presented by Talkin and Rowley (1990) will lead to better estimates of pitch and vocal tract shape. These automatic procedures will, in the future, make it possible to gather a large amount of data. Lack of glottal source data currently is a major obstacle for the development of speech synthesis with improved naturalness. Given that we have a collection of parameter data from analyzed speech corpora, we are in a good position to look for coarticulation rules and context-dependent variations. The collection of speech corpora also facilitates the possibilities of testing duration and intonation models (Carlson and Granstrom, 1986; Kaiki et al., 1990; Riley, 1990; Van Santen and Olive, 1990). Page 128 SPEAKING CHARACTERISTICS AND SPEAKING STYLES Currently available text-to-speech systems are not characterized by a great amount of flexibility, especially not when it comes to variations in voice or speaking style. On the contrary, the emphasis has been on a neutral way of reading, modeled after the reading of nonrelated sentences. There is, however, a very practical need for different speaking styles in text-to-speech systems. Such systems are now used in a variety of applications, and many more are projected as the quality is improved. The range of applications demands a variation close to that found in human speakers. General use in reading stock quotations, weather reports, electronic mail, or warning messages are examples in which humans would choose rather different ways of reading. Apart from these practical needs in text-to-speech systems, there is the scientific interest in formulating our understanding of human speech variability in explicit models. The current ambition in speech synthesis research is to model natural speech at a global level, allowing for changes of speaker characteristics and speaking style. One obvious reason is the limited success in enhancing the general speech quality by only improving the segmental models. The speaker-specific aspects are regarded as playing a very important role in the acceptability of synthetic speech. This is especially true when the systems are used to signal semantic and pragmatic knowledge. One interesting effort to include speaker characteristics in a complex system has been reported by the ATR group in Japan. The basic concept is to preserve speaker characteristics in interpreting systems (Abe et al., 1990). The proposed voice conversion technique consists of two steps: mapping code book generation of LPC parameters and a conversion synthesis using the mapping code book. The effort has stimulated much discussion, especially considering the application as such. The method has been extended from a frame-by-frame transformation to a segment-by-segment transformation (Abe, 1991). One concern with this type of effort is that the speaker characteristics are specified through training without a specific higher-level model of the speaker. It would be helpful if the speaker characteristics could be modeled by a limited number of parameters. Only a small number of sentences might in this case be needed to adjust the synthesis to one specific speaker. The needs in both speech synthesis and speech recognition are very similar in this respect. A voice conversion system that combines the PSOLA technique for modifying prosody with a source-filter decomposition that enables spectral transformations has been proposed (Valbret et al., 1992). Page 129 Duration-dependent vowel reduction has been another topic of research in this area. It seems that vowel reduction as a function of speech tempo is a speaker-dependent factor (Van Son and Pols, 1989). Duration and intonation structures and pause insertion strategies reflecting variability in the dynamic speaking style are other important speaker-dependent factors. Parameters such as consonant-vowel ratio and source dynamics are typical parameters that must be considered in addition to basic physiological variations. The differences between male and female speech have been studied by a few researchers (Karlsson, 1992; Klatt and Klatt, 1990). A few systems, such as that of Syrdal (1992), use a female voice as a reference speaker. The male voice differs from the female voice in many respects in addition to the physiological aspects. To a great extent, speaking habits are formed by the social environment, dialect region, sex, education, and by a communicative situation that may require formal or informal speech. A speaker's characteristics must be viewed as a complete description of the speaker in which all aspects are linked to each other in a unique framework (Cohen, 1989; Eskenazi and Lacheret-Dujour, 1991). The ultimate test of our descriptions is our ability to successfully synthesize not only different voices and accents but also different speaking styles (Bladon et al., 1987). Appropriate modeling of these factors will increase both the naturalness and intelligibility of synthetic speech. MULTILINGUAL SYNTHESIS Many societies in the world are increasingly multilingual. The situation in Europe is an especially striking example of this. Most of the population is in touch with more than one language. This is natural in multilingual societies such as Switzerland and Belgium. Most schools in Europe have foreign languages on their mandatory curriculum. With the opening of the borders in Europe, more and more people will be in direct contact with several languages on an almost daily basis. For this reason, text-to-speech devices, whether they are used professionally or not, ought to have a multilingual capability. Based on this understanding, many synthesis efforts are multilingual in nature. The Polyglot project, supported by the European ESPRIT program, was a joint effort by several laboratories in several countries. The common software in this project was, to a great extent, language independent, and the language-specific features were specified by rules, lexica, and definitions rather than by the software itself. This is also the key to the multilingual effort at KTH. Page 130 third of the systems delivered by the company INFOVOX are multilingual. The synthesis work pursued at companies such as ATR, CNET, DEC, and AT&T Bell Labs is also multilingual. It is interesting to see that the world's research community is rather small. Several of the efforts are joint ventures such as the CNET and CSTR British synthesis and the cooperation between Japanese (ATR) and U.S. The Japanese company Matsushita even has a U.S. Branch (STL) for its English effort, originally based on MITalk. Speech Quality The ultimate goal for synthesis research, with few exceptions, is to produce the highest speech quality possible. The quality and the intelligibility of speech are usually very difficult to measure. No single test is able to pinpoint where the problems lie. The Department of Psychology at the University of Indiana started a new wave of innovation in evaluation of synthesis systems to which a number of groups have made subsequent substantial contributions. But we are still looking for a simple way to measure progress quickly and reliably as we continue development of speech synthesis systems. The recent work that has been done in the ESPRIT/SAM projects, the COCOSDA group, and special workshops will set new standards for the future. CONCLUDING REMARKS In this paper a number of different synthesis methods and research goals to improve current text-to-speech systems have been touched on. It might be appropriate to remind the reader that nearly all methods are based on historical developments, where new knowledge has been added piece by piece to old knowledge rather than by a sudden change of approach. 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Hawkins (1992), 'Effects of stress and vowel context on velar stops in British English,' Proc. ICSLP-92, Banff, Canada. Schroeter (1987), 'A hybrid time-frequency domain articulatory speech synthesizer,' IEEE Trans. (1971), 'Airflow and turbulence noise for fricative and stop consonants: Static considerations, J. Am., 50(4)1180-1192. Stevens, K., and C. Bickley (1991), 'Constraints among parameters simplify control of Klatt formant synthesizer,' J. Phonet., 19(1). Page 134 Syrdal, A. (1992), 'Development of a female voice for a concatenative synthesis text-to-speech system.' Am., 92(Fall). Talkin, D., and M. Rowley (1990), 'Pitch-synchronous analysis and synthesis for TTS systems,' Proceedings of the ESCA Workshop on Speech Synthesis, Autrans, France. Valbret, H., E. Moulines, and J. Tubach (1992), 'Voice transformation using PSOLA technique,' Proc. ICASSP-92, San Francisco, pp. Van Leeuwen, H. Te Lindert (1991), 'Speechmaker, text-to-speech synthesis based on a multilevel, synchronized data structure,' Proc. Van Leeuwen, H. Te Lindert (1993), 'Speech maker: A flexible and general framework for text-to-speech synthesis, and its application to Dutch,' Comput. Speech Lang., 7(2):149-168. Van Santen, J., and J. Olive (1990), 'The analysis of segmental effect on segmental duration,' Comput. Speech Lang., No. Pols (1989), 'Comparing formant movements in fast and normal rate speech,' Proceedings of the European Conference on Speech Communication and Technology 89. Williams, D., C. Bickley, and K. Stevens (1992), 'Inventory of phonetic contrasts generated by high-level control of a formant synthesizer,' Proc. ICSLP-92, Banff, Canada, pp. Purchase Winter's Eve Album Nox Arcana (2009). Winter's Eve. Artists: Nox Arcana. Genres: Pop/Rock. Duration: 3958. Bitrate: FLAC (Flac files are not listening). Full: Download. Ballad Collection by Myuu, released 08 July 2016 1. Plus high-quality download in MP3, FLAC and more. Joseph Vargo and Nox Arcana. ![]() Legend [00:01:49] 02. Darklore Manor [00:02:27] 03. Threshold Of The Dead [00:01:18] 04. Trespassers [00:02:52] 05. Veil Of Darkness [00:01:55] 06. Sanctuary Of Shadows [00:03:12] 07. The Grande Hall [00:01:55] 08. Remnants [00:02:06] 09. Phantom Procession [00:01:46] 10. Belladonna [00:02:41] 11. Nursery Rhyme [00:00:40] 12. Music Box [00:02:09] 13. The Forgotten [00:02:44] 14. Nightmare [00:01:56] 15. No Rest For The Wicked [00:03:12] 16. Omen [00:00:43] 17. Seance [00:02:56] 18. Beyond Midnight [00:03:04] 19. Darkness Immortal [00:03:39] 20. Incantation [00:01:55] 21. Resurrected [00:06:00]. Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 2. Mythos [00:01:57] 02. The Nameless City [00:03:37] 03. Alhazred's Vision [00:02:55] 04. Necronomicon [00:02:03] 05. Ancient Shadows [00:02:28] 06. Azathoth [00:00:28] 07. The Black Throne [00:02:00] 08. Nyarlathotep [00:00:39] 09. Temple Of The Black Pharaoh [00:03:49] 10. Eldritch Rites [00:01:32] 11. The Haunter Of The Dark [00:02:37] 12. The Awakening [00:02:58] 13. Yog-Sothoth [00:00:59] 14. Guardian Of The Gate [00:03:25] 15. Lords Of Darkness [00:02:08] 16. Dagon [00:00:35] 17. The Stars Align [00:01:56] 18. Cthulhu [00:00:55] 19. Ritual Of Summoning [00:01:21] 20. Cthulhu Rising [00:02:38] 21. The Great Old Ones [00:08:54]. Exact Audio Copy V0.99 prebeta 4 from 23. January 2008 EAC extraction logfile from 25. Transylvania Overture [00:02:01] 02. The Voyage [00:02:54] 03. Gossamer Mist [00:02:39] 04. The Black Coach [00:02:35] 05. Sentinels of Stone [00:00:44] 06. Into the Shadows [00:02:59] 07. Castle Dracula [00:02:56] 08. Visitors in the Night [00:00:57] 09. Brides to Darkness [00:02:34] 10. Grande Masquerade [00:04:14] 11. Memento Mori [00:02:28] 12. The Howling [00:01:20] 13. Nocturne [00:02:54] 14. Bats in the Belfry [00:00:36] 15. Gothic Sanctum [00:02:43] 16. Gypsy Caravan [00:04:13] 17. From Dusk Till Dawn [00:00:53] 18. Night of the Wolf [00:03:59] 19. Echoes from the Crypt [00:02:38] 20. Shadow Hunters [00:02:51] 21. Lair of the Vampire [00:06:29]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 26. Vigil [00:01:41] 02. Ghosts of Christmas Past [00:03:40] 03. Ebonshire [00:02:53] 04. Solitude [00:02:51] 05. Crystal Forest [00:03:17] 06. First Snow [00:04:36] 07. Evening Star [00:03:21] 08. Reflections of Long Ago [00:02:25] 09. December Winds [00:02:49] 10. Phantom Toccata [00:01:12] 11. Hallowed Ruins [00:02:28] 12. Gregorian Hymn [00:01:16] 13. Spirit of the Season [00:03:13] 14. Coventry Carol [00:03:23] 15. Lullaby [00:02:06] 16. Winter's Knight [00:03:53] 17. Past Time with Good Company [00:03:33] 18. God Rest Ye Merry Gentlemen [00:03:02] 19. Veni, Veni, Emmanuel [00:03:01] 20. Redemption [00:03:44] 21. Carol of the Bells [00:05:20]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 17. Ancient Legacy [00:01:34] 02. The Quest Begins [00:03:29] 03. Citadel of Secrets [00:03:05] 04. Sorcerer [00:02:38] 05. Treasure of the Four Crowns [00:03:11] 06. Highland Storm [00:03:52] 07. Mist Loch [00:02:57] 08. Underworld [00:03:31] 09. The Kystic's Keep [00:04:01] 10. Stygian Depths [00:01:15] 11. Legions of Darkness [00:02:46] 12. Steeds of Thunder [00:03:28] 13. Rogue's Hollow [00:01:15] 14. Warrior's Dawn [00:04:13] 15. The Siege [00:03:51] 16. Dragon Riders [00:03:08] 17. Flame Tongue [00:00:57] 18. Defenders of the Realm [00:04:28] 19. Chamber of the Immortals [00:01:39] 20. Blood of the Dragon [00:03:11] 21. Eternal Champions [00:07:33]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 15. Ghosts of the Midway [00:01:47] 02. After Hours [00:02:16] 03. Harlequin's Lament [00:03:39] 04. Calliope [00:02:46] 05. Madame Endora [00:01:03] 06. Nightmare Parade [00:02:37] 07. Shadows Fall [00:02:17] 08. Hall of Mirrors [00:01:31] 09. Spellbound [00:01:03] 10. Cries in the Night [00:01:20] 11. Soul Stealer [00:02:27] 12. Haunted Carousel [00:03:12] 13. Theatre of Sorrows [00:02:34] 14. Living Dolls [00:02:52] 15. Lost in the Darkness [00:04:14] 16. Snake Charmer [00:04:26] 17. Freaks [00:01:23] 18. Circus Diabolique [00:03:24] 19. Pandora's Music Box [00:03:07] 20. The Devi'ls Daggers [00:03:16] 21. Storm [00:11:28]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 17. Darkest Hour [00:01:40] 02. Melancholia [00:03:00] 03. Descent Into Madness [00:03:25] 04. The House of Usher [00:02:04] 05. Madeline's Lament [00:02:14] 06. Haunted Memories [00:04:16] 07. Annabel Lee [00:03:08] 08. Legacy of Sorrow [00:02:33] 09. The Black Cat [00:00:55] 10. The Cask of Amontillado [00:03:15] 11. Mysteries of the Night [00:04:03] 12. Midnight Dreary [00:01:08] 13. The Raven [00:03:19] 14. Morbid Reminiscence [00:03:12] 15. Lenore [00:03:24] 16. A Dream Within A Dream [00:02:59] 17. The Tell-Tale Heart [00:01:19] 18. Murders in the Rue Morgue [00:02:47] 19. The Pit and the Pendulum [00:03:15] 20. Masque of the Red Death [00:04:42] 21. Nevermore [00:06:09]. REM GENRE Gothic REM DATE 2007 REM DISCID 0D0EC115 REM COMMENT 'ExactAudioCopy v1.0b3' PERFORMER 'Nox Arcana' TITLE 'Shadow of the Raven' FILE '01. Darkest Hour.wav' WAVE TRACK 01 AUDIO TITLE 'Darkest Hour' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '02. Melancholia.wav' WAVE TRACK 02 AUDIO TITLE 'Melancholia' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '03. Descent Into Madness.wav' WAVE TRACK 03 AUDIO TITLE 'Descent Into Madness' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '04. The House of Usher.wav' WAVE TRACK 04 AUDIO TITLE 'The House of Usher' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '05. Madeline's Lament.wav' WAVE TRACK 05 AUDIO TITLE 'Madeline's Lament' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '06. Haunted Memories.wav' WAVE TRACK 06 AUDIO TITLE 'Haunted Memories' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '07. Annabel Lee.wav' WAVE TRACK 07 AUDIO TITLE 'Annabel Lee' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '08. Legacy of Sorrow.wav' WAVE TRACK 08 AUDIO TITLE 'Legacy of Sorrow' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '09. The Black Cat.wav' WAVE TRACK 09 AUDIO TITLE 'The Black Cat' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '10. The Cask of Amontillado.wav' WAVE TRACK 10 AUDIO TITLE 'The Cask of Amontillado' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '11. Mysteries of the Night.wav' WAVE TRACK 11 AUDIO TITLE 'Mysteries of the Night' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '12. Midnight Dreary.wav' WAVE TRACK 12 AUDIO TITLE 'Midnight Dreary' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '13. The Raven.wav' WAVE TRACK 13 AUDIO TITLE 'The Raven' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '14. Morbid Reminiscence.wav' WAVE TRACK 14 AUDIO TITLE 'Morbid Reminiscence' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '15. Lenore.wav' WAVE TRACK 15 AUDIO TITLE 'Lenore' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '16. A Dream Within A Dream.wav' WAVE TRACK 16 AUDIO TITLE 'A Dream Within A Dream' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '17. The Tell-Tale Heart.wav' WAVE TRACK 17 AUDIO TITLE 'The Tell-Tale Heart' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '18. Murders in the Rue Morgue.wav' WAVE TRACK 18 AUDIO TITLE 'Murders in the Rue Morgue' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '19. The Pit and the Pendulum.wav' WAVE TRACK 19 AUDIO TITLE 'The Pit and the Pendulum' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '20. Masque of the Red Death.wav' WAVE TRACK 20 AUDIO TITLE 'Masque of the Red Death' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '21. Nevermore.wav' WAVE TRACK 21 AUDIO TITLE 'Nevermore' PERFORMER 'Nox Arcana' INDEX 01 00:00:00. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 21. Fable [00:02:04] 02. Twilight [00:02:56] 03. Once Upon a Nightmare [00:03:58] 04. Shadow Forest [00:03:49] 05. Eyes in the Dark [00:02:58] 06. The Hollow [00:01:11] 07. Sylvan Spirits [00:02:45] 08. Wicked Heart [00:02:50] 09. Conjuration [00:01:49] 10. Night Wraiths [00:02:31] 11. Deep in the Woods [00:02:21] 12. The Forgotten Path [00:05:05] 13. Fairy Tale [00:02:09] 14. Crone's Caverns [00:02:43] 15. Rise to Destiny [00:03:16] 16. Labyrinth of Dreams [00:02:53] 17. Castle of Nightmares [00:04:01] 18. Hall of the Witch Queen [00:03:21] 19. Ave Sinistra [00:04:27] 20. Black Spires [00:02:53] 21. Darkly Everafter [00:05:28]. REM GENRE Gothic REM DATE 2008 REM DISCID 2D0F6215 REM COMMENT 'ExactAudioCopy v1.0b3' PERFORMER 'Nox Arcana' TITLE 'Grimm Tales' FILE '01. Fable.wav' WAVE TRACK 01 AUDIO TITLE 'Fable' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '02. Twilight.wav' WAVE TRACK 02 AUDIO TITLE 'Twilight' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '03. Once Upon a Nightmare.wav' WAVE TRACK 03 AUDIO TITLE 'Once Upon a Nightmare' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '04. Shadow Forest.wav' WAVE TRACK 04 AUDIO TITLE 'Shadow Forest' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '05. Eyes in the Dark.wav' WAVE TRACK 05 AUDIO TITLE 'Eyes in the Dark' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '06. The Hollow.wav' WAVE TRACK 06 AUDIO TITLE 'The Hollow' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '07. Sylvan Spirits.wav' WAVE TRACK 07 AUDIO TITLE 'Sylvan Spirits' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '08. Wicked Heart.wav' WAVE TRACK 08 AUDIO TITLE 'Wicked Heart' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '09. Conjuration.wav' WAVE TRACK 09 AUDIO TITLE 'Conjuration' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '10. Night Wraiths.wav' WAVE TRACK 10 AUDIO TITLE 'Night Wraiths' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '11. Deep in the Woods.wav' WAVE TRACK 11 AUDIO TITLE 'Deep in the Woods' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '12. The Forgotten Path.wav' WAVE TRACK 12 AUDIO TITLE 'The Forgotten Path' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '13. Fairy Tale.wav' WAVE TRACK 13 AUDIO TITLE 'Fairy Tale' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '14. Crone's Caverns.wav' WAVE TRACK 14 AUDIO TITLE 'Crone's Caverns' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '15. Rise to Destiny.wav' WAVE TRACK 15 AUDIO TITLE 'Rise to Destiny' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '16. Labyrinth of Dreams.wav' WAVE TRACK 16 AUDIO TITLE 'Labyrinth of Dreams' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '17. Castle of Nightmares.wav' WAVE TRACK 17 AUDIO TITLE 'Castle of Nightmares' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '18. Hall of the Witch Queen.wav' WAVE TRACK 18 AUDIO TITLE 'Hall of the Witch Queen' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '19. Ave Sinistra.wav' WAVE TRACK 19 AUDIO TITLE 'Ave Sinistra' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '20. Black Spires.wav' WAVE TRACK 20 AUDIO TITLE 'Black Spires' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '21. Darkly Everafter.wav' WAVE TRACK 21 AUDIO TITLE 'Darkly Everafter' PERFORMER 'Nox Arcana' INDEX 01 00:00:00. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 22. Dead Men Tell No Tales [00:02:26] 02. The High Seas [00:02:56] 03. Edge of the World [00:04:21] 04. Pirates [00:05:10] 05. The Gallows Jig [color=06. Crossfire [00:03:00] 07. Oblivion [00:03:00] 08. Racing the Wind [00:04:15] 09. Siren's Call [00:02:33] 10. Trove Island [00:03:23] 11. Against the Storm [00:03:21] 12. Lords of the Deep [00:02:27] 13. Maelstrom [00:01:22] 14. Out of the Mist [00:03:02] 15. Still Waters [00:02:22] 16. Black Sails [00:03:01] 17. Fate of the Tempest [00:04:10] 18. The Fog Rolls In [00:01:32] 19. Widow's Harbor [00:02:56] 20. Ghost Ship [00:02:48] 21. Skull and Crossbones [00:07:05]. REM GENRE Soundtrack REM DATE 2008 REM DISCID 2F0FBF15 REM COMMENT 'ExactAudioCopy v1.0b3' PERFORMER 'Nox Arcana' TITLE 'Phantoms of the High Seas' FILE '01. Dead Men Tell No Tales.wav' WAVE TRACK 01 AUDIO TITLE 'Dead Men Tell No Tales' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '02. The High Seas.wav' WAVE TRACK 02 AUDIO TITLE 'The High Seas' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '03. Edge of the World.wav' WAVE TRACK 03 AUDIO TITLE 'Edge of the World' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '04. Pirates.wav' WAVE TRACK 04 AUDIO TITLE 'Pirates' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '05. The Gallows Jig.wav' WAVE TRACK 05 AUDIO TITLE 'The Gallows Jig' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '06. Crossfire.wav' WAVE TRACK 06 AUDIO TITLE 'Crossfire' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '07. Oblivion.wav' WAVE TRACK 07 AUDIO TITLE 'Oblivion' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '08. Racing the Wind.wav' WAVE TRACK 08 AUDIO TITLE 'Racing the Wind' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '09. Siren's Call.wav' WAVE TRACK 09 AUDIO TITLE 'Siren's Call' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '10. Trove Island.wav' WAVE TRACK 10 AUDIO TITLE 'Trove Island' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '11. Against the Storm.wav' WAVE TRACK 11 AUDIO TITLE 'Against the Storm' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '12. Lords of the Deep.wav' WAVE TRACK 12 AUDIO TITLE 'Lords of the Deep' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '13. Maelstrom.wav' WAVE TRACK 13 AUDIO TITLE 'Maelstrom' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '14. Out of the Mist.wav' WAVE TRACK 14 AUDIO TITLE 'Out of the Mist' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '15. Still Waters.wav' WAVE TRACK 15 AUDIO TITLE 'Still Waters' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '16. Black Sails.wav' WAVE TRACK 16 AUDIO TITLE 'Black Sails' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '17. Fate of the Tempest.wav' WAVE TRACK 17 AUDIO TITLE 'Fate of the Tempest' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '18. The Fog Rolls In.wav' WAVE TRACK 18 AUDIO TITLE 'The Fog Rolls In' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '19. Widow's Harbor.wav' WAVE TRACK 19 AUDIO TITLE 'Widow's Harbor' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '20. Ghost Ship.wav' WAVE TRACK 20 AUDIO TITLE 'Ghost Ship' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '21. Skull and Crossbones.wav' WAVE TRACK 21 AUDIO TITLE 'Skull and Crossbones' PERFORMER 'Nox Arcana' INDEX 01 00:00:00. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 21. Legacy of Darkness [00:02:09] 02. Blackthorn Asylum [00:03:12] 03. Sanitarium Gates [00:03:06] 04. Abandoned [00:02:54] 05. Threshold of Madness [00:03:41] 06. Tapestry of Decay [00:03:06] 07. Hidden Horrors [00:02:32] 08. When Darkness Falls [00:03:24] 09. Shock Treatment [00:00:55] 10. Fractured Memories [00:02:27] 11. Phantasmagoria [00:03:27] 12. Creeper [00:02:12] 13. Sanity Slipping [00:03:03] 14. Dementia 13 [00:03:23] 15. Solitary Confinement [00:03:24] 16. Frenzy [00:02:45] 17. The Condemned [00:03:05] 18. Spiders in the Attic [00:04:24] 19. From Beyond [00:00:47] 20. Essence of Evil [00:02:55] 21. Fade to Black [00:06:12]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 20. The Messenger [00:01:16] 02. Frozen Memories [00:02:43] 03. Magic and Moonlight [00:03:24] 04. The Rose of Winter [00:02:22] 05. Enchanted Realm [00:02:34] 06. The Ides of December [00:04:20] 07. Gifts of the Magi [00:02:59] 08. Season of Wonder [00:02:42] 09. Solstice Dance [00:02:29] 10. The White Queen [00:02:51] 11. Winter's Eve [00:04:17] 12. Starlight Serenade [00:03:26] 13. Greensleeves [00:04:07] 14. The Longest Night [00:04:01] 15. Pax Terra [00:02:58] 16. Winds of Change [00:03:36] 17. Fading Embers [00:02:06] 18. Crystal Chimes [00:02:07] 19. Serenity [00:02:40] 20. Winter Rhapsody [00:03:27] 21. Time Slips Away [00:05:33]. REM GENRE Gothic REM DATE 2009 REM DISCID 2A0F8115 REM COMMENT 'ExactAudioCopy v1.0b3' PERFORMER 'Nox Arcana' TITLE 'Winter's Eve' FILE '01. The Messenger.wav' WAVE TRACK 01 AUDIO TITLE 'The Messenger' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '02. Frozen Memories.wav' WAVE TRACK 02 AUDIO TITLE 'Frozen Memories' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '03. Magic and Moonlight.wav' WAVE TRACK 03 AUDIO TITLE 'Magic and Moonlight' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '04. The Rose of Winter.wav' WAVE TRACK 04 AUDIO TITLE 'The Rose of Winter' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '05. Enchanted Realm.wav' WAVE TRACK 05 AUDIO TITLE 'Enchanted Realm' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '06. The Ides of December.wav' WAVE TRACK 06 AUDIO TITLE 'The Ides of December' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '07. Gifts of the Magi.wav' WAVE TRACK 07 AUDIO TITLE 'Gifts of the Magi' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '08. Season of Wonder.wav' WAVE TRACK 08 AUDIO TITLE 'Season of Wonder' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '09. Solstice Dance.wav' WAVE TRACK 09 AUDIO TITLE 'Solstice Dance' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '10. The White Queen.wav' WAVE TRACK 10 AUDIO TITLE 'The White Queen' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '11. Winter's Eve.wav' WAVE TRACK 11 AUDIO TITLE 'Winter's Eve' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '12. Starlight Serenade.wav' WAVE TRACK 12 AUDIO TITLE 'Starlight Serenade' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '13. Greensleeves.wav' WAVE TRACK 13 AUDIO TITLE 'Greensleeves' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '14. The Longest Night.wav' WAVE TRACK 14 AUDIO TITLE 'The Longest Night' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '15. Pax Terra.wav' WAVE TRACK 15 AUDIO TITLE 'Pax Terra' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '16. Winds of Change.wav' WAVE TRACK 16 AUDIO TITLE 'Winds of Change' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '17. Fading Embers.wav' WAVE TRACK 17 AUDIO TITLE 'Fading Embers' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '18. Crystal Chimes.wav' WAVE TRACK 18 AUDIO TITLE 'Crystal Chimes' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '19. Serenity.wav' WAVE TRACK 19 AUDIO TITLE 'Serenity' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '20. Winter Rhapsody.wav' WAVE TRACK 20 AUDIO TITLE 'Winter Rhapsody' PERFORMER 'Nox Arcana' INDEX 01 00:00:00 FILE '21. Time Slips Away.wav' WAVE TRACK 21 AUDIO TITLE 'Time Slips Away' PERFORMER 'Nox Arcana' INDEX 01 00:00:00. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 22. Abracadabra [00:01:39] 02. Cobwebs [00:02:39] 03. Nostalgia [00:02:23] 04. Forgotten Dreams [00:04:17] 05. Edge of Darkness [00:03:08] 06. Phantom Theater [00:03:02] 07. Hypnos [00:01:05] 08. The Curtain Rises [00:00:55] 09. The Crimson Hourglass [00:02:56] 10. Sinister Cabaret [00:02:55] 11. Necromancer [00:03:45] 12. The Mask of Arcana [00:03:40] 13. Shadowplay [00:03:53] 14. Voodoo [00:03:51] 15. Mysterium [00:03:50] 16. The Swords of Kali [00:03:00] 17. Smoke and Mirrors [00:03:18] 18. The Prestige [00:02:50] 19. Black Fire [00:03:03] 20. Dark Destiny [00:03:15] 21. Lord of Illusions [00:06:50]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 15. Darkness Rising [00:01:47] 02. Born of the Night [00:03:29] 03. Crimson Thirst [00:02:47] 04. Vasaria [00:02:55] 05. Vesper Tolls [00:03:25] 06. Path of Shadows [00:03:49] 07. Banshee [00:01:31] 08. Ghost at the Gate [00:02:45] 09. Nightwatcher [00:01:56] 10. The Dark Tower [00:04:31] 11. Haunted [00:03:01] 12. Vampire Kiss [00:03:04] 13. Undying Love [00:02:35] 14. Masque of Sorrow [00:03:01] 15. King of Fools [00:03:07] 16. Something Wicked [00:00:44] 17. Sinister Forces [00:03:45] 18. Immortal Fire [00:03:31] 19. Sorrow's End [00:03:19] 20. Dark Desire [00:03:37] 21. Noctem Aeternus [00:07:10]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 8. Aquilon's Wish [00:03:52] 02. Tranquility [00:02:49] 03. White Woodlands [00:03:13] 04. Secret Sanctuary [00:03:04] 05. Summon the Wind [00:01:43] 06. Snow in the Shire [00:03:06] 07. Crystal Kingdom [00:03:45] 08. Solstice Spirits [00:03:07] 09. Shelter from the Cold [00:03:51] 10. Angels in the Snow [00:02:47] 11. Scarborough Fair [00:05:47] 12. Ivory Steeds [00:02:33] 13. Winter Haven [00:03:00] 14. Forest Lullaby [00:02:35] 15. Days of Olde [00:02:54] 16. Saturnalia [00:03:28] 17. The Coming of the King [00:03:53] 18. Winter's Majesty [00:03:49] 19. We Three Kings [00:03:17] 20. Polaris [00:02:26] 21. Final Peace [00:03:45]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 19. We Are Legion [00:01:58] 02. Hidden Realm [00:02:07] 03. Skeletons in the Closet [00:03:12] 04. Shivers [00:02:41] 05. Distant Memories [00:02:55] 06. Ancient Flame [00:04:00] 07. Loveless [00:03:11] 08. Dreamscape [00:03:34] 09. Evil Genius [00:03:34] 10. Ghost in the Mirror [00:02:41] 11. Toccata [00:04:57] 12. Lorelei [00:02:35] 13. Black Phoenix [00:03:34] 14. Spirits of the Past [00:03:03] 15. On Dark Wings [00:03:10] 16. Haunted Dreams [00:02:49] 17. Into the Night [00:03:13] 18. Rites of Passage [00:04:26] 19. Arise [00:02:08] 20. Legion of Shadows [00:02:50] 21. Heart of Darkness [00:05:55]. Exact Audio Copy V1.0 beta 3 from 29. August 2011 EAC extraction logfile from 5. Brotherhood Of The Dragon [00:02:14] 02. Falcon's Flight [00:02:01] 03. Echoes Of The Past [00:02:27] 04. Into The Wilderness [00:01:43] 05. Broken Prince [00:01:33] 06. Elric [00:01:54] 07. Grim Discovery [00:02:49] 08. Mortal Love [00:00:44] 09. The Wolf's Prey [00:04:25] 10. The Lion Rises [00:08:06] 11. Blood Of The Elk [00:02:48] 12. Gift Of Love [00:02:13] 13. Ora Pro Nobis [00:04:27] 14. God's Forgotten Children [00:03:39] 15. In Pursuit [00:01:24] 16. Reflections Of Sorrow [00:04:03] 17. Betrayal [00:03:14] 18. Broken Wings [00:02:38] 19. Crimson Winter [00:01:45] 20. A Great Destiny [00:02:12] 21. Vampires Among Us [00:02:35]. Free Download Game ( Permainan ) Onet 2 Full Version Untuk PC Laptop Windows XP Vista 7 dan 8 & Android Apk Terbaru 2017 - selamat malam, kali ini blog dengan penulisnya dwi yosi akan memberikan sebuah game / permainan kesukaan saya nich, game yang selalu menemani saya ketika sedang suka maupun susah, lebih lebih di saat saya sedang membutuhkan hiburan, game ini yang selalu setia menemani yosi sampai terhibur ria. Perlu anda ketahui game tersebut ialah bernama, game onet deluxe ini adalah game atau laptop yang di kembangkan oleh Chen Program Study, dimana tugas anda adalah mencocokkan kotak gambar gambar tokoh kartun pikachu pokemon yang sama sampai batas waktu yang telah di tentukan. Game ini cocok sekali untuk anda yang ingin menguji kemampuan kecerdasan otak anda, sebab di jamin apabila anda memainkan dan for pc ini, otak kanan anda akan bekerja secara ekstra, jadi apabila anda mampu meraih point tinggi pada game onet ini, saya jamin anda adalah orang yang sangat jenius dan kreatif sekali. Rincian Game Onet 2 Terbaru 201 6 Untuk PC / Laptop: • Nama Game: Onet 2 • Sistem Operasi: Windows XP, Vista, 7, 8, dan • Lisensi: Freeware • Author: Chen Program Study. ![]() Kalian bisa ngegame asah otak dengan game onet atau orbituari atau yang populer game pikachu. Untuk dapat memainkan game ini di. Game PC onet. ![]() |
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