A transcrição manual e a análise instrumental do canto através do Praat

In the field of ethnomusicology, the main tool-of-the-trade for music analysis has been musical transcription on the score, despite its acknowledged cultural bias and the limits of staff notation as a means of representing music conceived and performed outside of the Western music culture. In the digital era, a number of analytical tools have been designed which may serve to solve some of the problems related to the use of the score as a method for describing and visualizing music. These tools allow analyses to be performed, which were virtually impossible for most ethnomusicologists until a few decades ago. Praat, the well known software developed by Paul Boersma and David Weenink and designed for phonetic studies, may also be helpful for the annotation and analysis of the singing voice. This paper deals with some aspects of the use of this program for musicological aims, focussing on the relation between acoustic data and subjective musical interpretations and their relevance in analytic and perceptual investigations.En el campo de la etnomusicología la principal herramienta de mercado para el análisis musical ha sido la transcripción musical sobre la partitura, a pesar de su reconocido sesgo cultural y de los límites que tiene la escritura en pentagrama para representar la música concebida y ejecutada fuera de la cultura musical occidental. En la era digital fue diseñado un número de herramientas analíticas capaces de resolver algunos de los problemas relacionados con el uso de la partitura como método para describir y visualizar la música. Esas herramientas permiten hacer un tipo de análisis que, hasta hace unas pocas décadas, era virtualmente imposible de realizar para la mayoría de los etnomusicólogos. Praat, el conocido programa de computación desarrollado por Paul Boersma y David Weenink y diseñado para los estudios fonéticos, puede también ser útil para la notación y el análisis del canto. Este artículo aborda algunos aspectos del uso musicológico de ese programa con énfasis en la relación entre el dato acústico y las interpretaciones musicales subjetivas, y su relevancia para el análisis y la investigación de la percepción.No domínio da etnomusicologia a principal ferramenta de mercado para a análise musical tem sido a transcrição musical na partitura, apesar do seu reconhecido viés cultural e dos limites da escrita num pentagrama como método para representar a música concebida e realizada fora da cultura musical ocidental. Na era digital, foram concebidas ferramentas analíticas capazes de resolver alguns dos problemas relacionados com o uso da partitura como método para descrever e visualizar a música. Estas ferramentas permitem fazer um tipo de análise que, até há algumas décadas atrás, era virtualmente impossível de realizar para a maioria dos etnomusicólogos. Praat, o conhecido programa de computação desenvolvido por Paul Boersma e David Weenink e desenhado para estudos fonéticos, pode também ser útil para a notação e para a análise do canto. Este artigo aborda alguns aspetos do uso musicológico desse programa com enfase na relação entre o dado acústico e as interpretações musicais subjetivas, e a sua relevância para a análise e para a investigação da percepção

Application of singing synthesis techniquest to bertsolaritza

237 p

Singing voice resynthesis using concatenative-based techniques

Tese de Doutoramento. Engenharia Informática. Faculdade de Engenharia. Universidade do Porto. 201

Models and analysis of vocal emissions for biomedical applications

This book of Proceedings collects the papers presented at the 3rd International Workshop on Models and Analysis of Vocal Emissions for Biomedical Applications, MAVEBA 2003, held 10-12 December 2003, Firenze, Italy. The workshop is organised every two years, and aims to stimulate contacts between specialists active in research and industrial developments, in the area of voice analysis for biomedical applications. The scope of the Workshop includes all aspects of voice modelling and analysis, ranging from fundamental research to all kinds of biomedical applications and related established and advanced technologies

Application of singing synthesis techniquest to bertsolaritza

237 p

Prosodic description: An introduction for fieldworkers

This article provides an introductory tutorial on prosodic features such as tone and accent for researchers working on little-known languages. It specifically addresses the needs of non-specialists and thus does not presuppose knowledge of the phonetics and phonology of prosodic features. Instead, it intends to introduce the uninitiated reader to a field often shied away from because of its (in part real, but in part also just imagined) complexities. It consists of a concise overview of the basic phonetic phenomena (section 2) and the major categories and problems of their functional and phonological analysis (sections 3 and 4). Section 5 gives practical advice for documenting and analyzing prosodic features in the field.National Foreign Language Resource Cente

Methodological considerations concerning manual annotation of musical audio in function of algorithm development

In research on musical audio-mining, annotated music databases are needed which allow the development of computational tools that extract from the musical audiostream the kind of high-level content that users can deal with in Music Information Retrieval (MIR) contexts. The notion of musical content, and therefore the notion of annotation, is ill-defined, however, both in the syntactic and semantic sense. As a consequence, annotation has been approached from a variety of perspectives (but mainly linguistic-symbolic oriented), and a general methodology is lacking. This paper is a step towards the definition of a general framework for manual annotation of musical audio in function of a computational approach to musical audio-mining that is based on algorithms that learn from annotated data. 1

Analysis on Using Synthesized Singing Techniques in Assistive Interfaces for Visually Impaired to Study Music

Tactile and auditory senses are the basic types of methods that visually impaired people sense the world. Their interaction with assistive technologies also focuses mainly on tactile and auditory interfaces. This research paper discuss about the validity of using most appropriate singing synthesizing techniques as a mediator in assistive technologies specifically built to address their music learning needs engaged with music scores and lyrics. Music scores with notations and lyrics are considered as the main mediators in musical communication channel which lies between a composer and a performer. Visually impaired music lovers have less opportunity to access this main mediator since most of them are in visual format. If we consider a music score, the vocal performer’s melody is married to all the pleasant sound producible in the form of singing. Singing best fits for a format in temporal domain compared to a tactile format in spatial domain. Therefore, conversion of existing visual format to a singing output will be the most appropriate nonlossy transition as proved by the initial research on adaptive music score trainer for visually impaired [1]. In order to extend the paths of this initial research, this study seek on existing singing synthesizing techniques and researches on auditory interfaces