Combined Audio and Video Analysis for Guitar Chord Identification

This research presents a multi-modal approach to automatically identifying guitar chords using audio and video of the performer. Chord identification is for stringed instruments adds extra ambiguity as a single chord or melody may be played in different positions on the fretboard. Preserving this information is important, because it signifies the original fingering, and implied “easiest” way to perform the selection. This chord identification system combines analysis of audio to determine the general chord scale (i.e. A major, G minor), and video of the guitarist to determine chord voicing (i.e. open, barred, inversion), to accurately identify the guitar chord

Combined audio and video analysis for guitar chord identification

This thesis presents a multi-modal approach to automatically identifying guitar chords using audio and video of the performer. Chord identi cation is typically performed by analyzing the audio, using a chroma based feature to extract pitch class information, then identifying the chord with the appropriate label. Even if this method proves perfectly accurate, stringed instruments add extra ambiguity as a single chord or melody may be played in di erent positions on the fretboard. Preserving this information is important, because it signi es the original ngering, and implied \easiest" way to perform the selection. This chord identi cation system combines analysis of audio to determine the general chord scale (i.e. A major, G minor), and video of the guitarist to determine chord voicing (i.e. open, barred, inversion), to accurately identify the guitar chord.M.S., Electrical Engineering -- Drexel University, 201

Bringing it all together: formal and informal learning in a university guitar class

This study seeks to integrate informal and formal music learning in a university guitar class with a secondary focus on evaluating the effectiveness of this approach in meeting student's stated goals for learning the guitar. Salient features in formal music learning were discovered from an examination of guitar method books. Informal features were examined from a reading of extant research on popular music pedagogy and expounded upon through research devoted to specific areas of informal music learning and popular music pedagogy. These features were used in the creation of a guitar curriculum to aid in the integration of both formal and informal music learning in a university guitar class. Data were gathered through pre- and post-study questionnaires, interviews, and video analysis. Analysis of data shows that integrating formal and informal music learning in a beginner's guitar class is effective in meeting student stated goals for the course. Note reading was an area that was not effective in meeting student goals for the course. Data revealed that note reading should be taught slowly, in key based relationships and with fewer notes taught over the 16 week course. Integrating informal music learning procedures in a formal environment proved to be challenging for the students. A difficulty existed in the student's ability to task switch between formal and informal learning in the University setting. Implications from the study are listening should be considered a primary means for learning music and haphazard learning is beneficial, though difficult to include in a systematized curriculum

On the Complex Network Structure of Musical Pieces: Analysis of Some Use Cases from Different Music Genres

This paper focuses on the modeling of musical melodies as networks. Notes of a melody can be treated as nodes of a network. Connections are created whenever notes are played in sequence. We analyze some main tracks coming from different music genres, with melodies played using different musical instruments. We find out that the considered networks are, in general, scale free networks and exhibit the small world property. We measure the main metrics and assess whether these networks can be considered as formed by sub-communities. Outcomes confirm that peculiar features of the tracks can be extracted from this analysis methodology. This approach can have an impact in several multimedia applications such as music didactics, multimedia entertainment, and digital music generation.Comment: accepted to Multimedia Tools and Applications, Springe

Music Information Retrieval Meets Music Education

This paper addresses the use of Music Information Retrieval (MIR) techniques in music education and their integration in learning software. A general overview of systems that are either commercially available or in research stage is presented. Furthermore, three well-known MIR methods used in music learning systems and their state-of-the-art are described: music transcription, solo and accompaniment track creation, and generation of performance instructions. As a representative example of a music learning system developed within the MIR community, the Songs2See software is outlined. Finally, challenges and directions for future research are described

畳み込みニューラルネットワークと時空間サポートベクター回帰に基づくギターの運指の自動評価システム

早大学位記番号:新7965早稲田大

Compositions Combining Acoustic, Electro-Acoustic And Synthetic Instruments For Modern Jazz Performance

Compositions Combining Acoustic, Electro-acoustic and Synthetic Instruments for Modern Jazz Performance presents a series of seven compositions by vibraphonist and composer David Kemp. The seven works primarily explore combining acoustic (trumpet and drums), electro-acoustic (electric guitar, bass guitar and pickup equipped vibraphone) and synthetic (electronically created synthesizer patches on a Roland XV5050 Sound Module) instruments, mixing musical styles, using rhythm and duration as a governing force in composition, using an extensive harmonic palette and incorporating technology. In this document, the scores are presented in full in a Portfolio Volume, accompanied by recorded performances in audio and visual formats and written analyses of the compositions. Included is a discussion of archetypal composers, similar stylistic traits of their music to mine, and conclusions drawn from the project. The document is completed by a bibliography and discography

IDENTIFICATION OF COVER SONGS USING INFORMATION THEORETIC MEASURES OF SIMILARITY

13 pages, 5 figures, 4 tables. v3: Accepted version13 pages, 5 figures, 4 tables. v3: Accepted version13 pages, 5 figures, 4 tables. v3: Accepted versio

George Van Eps’s Harmonic Mechanisms for Guitar: Concepts and Influence on Jazz Guitar Education and Performance Practice

The purpose of this dissertation is to examine the content and influence of George Van Eps’s Harmonic Mechanisms for Guitar, with particular emphasis on the fields of education and performance practice. Key principles from the volumes are demonstrated through notation, analysis and audio reproduction. Chapter one is a literature review of the available secondary sources that cover aspects of GVE’s teaching and related methodology. Chapter two examines GVE’s early influences to understand the contextual basis for his Harmonic Mechanisms series. Chapter three presents the ten core concepts contained within GVE’s Harmonic Mechanisms series and addresses certain editorial shortcomings which have impacted the accessibility of the volumes. Chapter four assesses GVE’s influence on both jazz guitar pedagogy and performance practice. I have recorded all transcribed examples and etudes contained within the dissertation as a practice-based inquiry of the methodologies contained within Harmonic Mechanisms for Guitar and related works. The defining of such concepts along with their recording and use as vehicles for the composition of solo guitar etudes is unprecedented. This project finds that GVE’s Harmonic Mechanisms series has, and continues to have, a substantial impact on contemporary jazz guitar education and performance, much of which has, until the current research, been unacknowledged

A Practice-Based Study into the Composition and Performance of Polytemporal Music

This practice-based research explores the composition and performance of polytemporal music, culminating in ten new works in audio/visual format with accompanying commentaries and notation. Research is undertaken into concepts of rhythm and pulse in order to develop new techniques for composing music in multiple simultaneous tempi, particularly methods for managing rhythmic consonance and dissonance in the compositional process. Attention is also given to the practicalities and implications of performance, investigating issues of accessibility and ensemble in reference to the use of click tracks and headphones, as well as the form and function of notation. The approaches within this research stem from my experience as a commercial rock/studio musician fused with contemporary classical influences. As well as these musical influences, a background in visual art and design also contributes to the visual presentation of works and scores; musical works are presented in video format which is shown to enhance temporal perception, and a new form of rhythmically accurate western notation for polytemporal music is developed. Composing and performing in a strictly polytemporal setting has at the time of writing not been widely researched, and it is hoped this work displays new knowledge and approaches important for the development of composition in this area