Developing a Noise-Robust Beat Learning Algorithm for Music-Information Retrieval

The field of Music-Information Retrieval (Music-IR) involves the development of algorithms that can analyze musical audio and extract various high-level musical features. Many such algorithms have been developed, and systems now exist that can reliably identify features such as beat locations, tempo, and rhythm from musical sources. These features in turn are used to assist in a variety of music-related tasks ranging from automatically creating playlists that match specified criteria to synchronizing various elements, such as computer graphics, with a performance. These Music-IR systems thus help humans to enjoy and interact with music. While current systems for identifying beats in music are have found widespread utility, most of them have been developed on music that is relatively free of acoustic noise. Much of the music that humans listen to, though, is performed in noisy environments. People often enjoy music in crowded clubs and noisy rooms, but this music is much more challenging for Music-IR systems to analyze, and current beat trackers generally perform poorly on musical audio heard in such conditions. If our algorithms could accurately process this music, though, it would enable this music too to be used in applications such as automatic song selection, which are currently limited to music taken directly from professionally-produced digital files that have little acoustic noise. Noise-robust beat learning algorithms would also allow for additional types of performance augmentation which create noise and thus cannot be used with current algorithms. Such a system, for instance, could aid robots in performing synchronously with music, whereas current systems are generally unable to accurately process audio heard in conjunction with noisy robot motors. This work aims to present a new approach for learning beats and identifying both their temporal locations and their spectral characteristics for music recorded in the presence of noise. First, datasets of musical audio recorded in environments with multiple types of noise were collected and annotated. Noise sources used for these datasets included HVAC sounds from a room, chatter from a crowded bar, and fans and motor noises from a moving robot. Second, an algorithm for learning and locating musical beats was developed which incorporates signal processing and machine learning techniques such as Harmonic-Percussive Source Separation and Probabilistic Latent Component Analysis. A representation of the musical signal called the stacked spectrogram was also utilized in order to better represent the time-varying nature of the beats. Unlike many current systems, which assume that the beat locations will be correlated with some hand-crafted features, this system learns the beats directly from the acoustic signal. Finally, the algorithm was tested against several state-of-the-art beat trackers on the audio datasets. The resultant system was found to significantly outperform the state-of-the-art when evaluated on audio played in realistically noisy conditions.Ph.D., Electrical Engineering -- Drexel University, 201

Système d'audition artificielle embarqué optimisé pour robot mobile muni d'une matrice de microphones

Dans un environnement non contrôlé, un robot doit pouvoir interagir avec les personnes d’une façon autonome. Cette autonomie doit également inclure une interaction grâce à la voix humaine. Lorsque l’interaction s’effectue à une distance de quelques mètres, des phénomènes tels que la réverbération et la présence de bruit ambiant doivent être pris en considération pour effectuer efficacement des tâches comme la reconnaissance de la parole ou de locuteur. En ce sens, le robot doit être en mesure de localiser, suivre et séparer les sources sonores présentes dans son environnement. L’augmentation récente de la puissance de calcul des processeurs et la diminution de leur consommation énergétique permettent dorénavant d’intégrer ces systèmes d’audition articielle sur des systèmes embarqués en temps réel. L’audition robotique est un domaine relativement jeune qui compte deux principales librairies d’audition artificielle : ManyEars et HARK. Jusqu’à présent, le nombre de microphones se limite généralement à huit, en raison de l’augmentation rapide de charge de calculs lorsque des microphones supplémentaires sont ajoutés. De plus, il est parfois difficile d’utiliser ces librairies avec des robots possédant des géométries variées puisqu’il est nécessaire de les calibrer manuellement. Cette thèse présente la librairie ODAS qui apporte des solutions à ces difficultés. Afin d’effectuer une localisation et une séparation plus robuste aux matrices de microphones fermées, ODAS introduit un modèle de directivité pour chaque microphone. Une recherche hiérarchique dans l’espace permet également de réduire la quantité de calculs nécessaires. De plus, une mesure de l’incertitude du délai d’arrivée du son est introduite pour ajuster automatiquement plusieurs paramètres et ainsi éviter une calibration manuelle du système. ODAS propose également un nouveau module de suivi de sources sonores qui emploie des filtres de Kalman plutôt que des filtres particulaires. Les résultats démontrent que les méthodes proposées réduisent la quantité de fausses détections durant la localisation, améliorent la robustesse du suivi pour des sources sonores multiples et augmentent la qualité de la séparation de 2.7 dB dans le cas d’un formateur de faisceau à variance minimale. La quantité de calculs requis diminue par un facteur allant jusqu’à 4 pour la localisation et jusqu’à 30 pour le suivi par rapport à la librairie ManyEars. Le module de séparation des sources sonores exploite plus efficacement la géométrie de la matrice de microphones, sans qu’il soit nécessaire de mesurer et calibrer manuellement le système. Avec les performances observées, la librairie ODAS ouvre aussi la porte à des applications dans le domaine de la détection des drones par le bruit, la localisation de bruits extérieurs pour une navigation plus efficace pour les véhicules autonomes, des assistants main-libre à domicile et l’intégration dans des aides auditives

Design, Control, and Evaluation of a Human-Inspired Robotic Eye

Schulz S. Design, Control, and Evaluation of a Human-Inspired Robotic Eye. Bielefeld: Universität Bielefeld; 2020.The field of human-robot interaction deals with robotic systems that involve humans and robots closely interacting with each other. With these systems getting more complex, users can be easily overburdened by the operation and can fail to infer the internal state of the system or its ”intentions”. A social robot, replicating the human eye region with its familiar features and movement patterns, that are the result of years of evolution, can counter this. However, the replication of these patterns requires hard- and software that is able to compete with the human characteristics and performance. Comparing previous systems found in literature with the human capabili- ties reveal a mismatch in this regard. Even though individual systems solve single aspects, the successful combination into a complete system remains an open challenge. In contrast to previous work, this thesis targets to close this gap by viewing the system as a whole — optimizing the hard- and software, while focusing on the replication of the human model right from the beginning. This work ultimately provides a set of interlocking building blocks that, taken together, form a complete end-to-end solution for the de- sign, control, and evaluation of a human-inspired robotic eye. Based on the study of the human eye, the key driving factors are identified as the success- ful combination of aesthetic appeal, sensory capabilities, performance, and functionality. Two hardware prototypes, each based on a different actua- tion scheme, have been developed in this context. Furthermore, both hard- ware prototypes are evaluated against each other, a previous prototype, and the human by comparing objective numbers obtained by real-world mea- surements of the real hardware. In addition, a human-inspired and model- driven control framework is developed out, again, following the predefined criteria and requirements. The quality and human-likeness of the motion, generated by this model, is evaluated by means of a user study. This frame- work not only allows the replication of human-like motion on the specific eye prototype presented in this thesis, but also promotes the porting and adaption to less equipped humanoid robotic heads. Unlike previous systems found in literature, the presented approach provides a scaling and limiting function that allows intuitive adjustments of the control model, which can be used to reduce the requirements set on the target platform. Even though a reduction of the overall velocities and accelerations will result in a slower motion execution, the human characteristics and the overall composition of the interlocked motion patterns remain unchanged

ベイズ法によるマイクロフォンアレイ処理

京都大学0048新制・課程博士博士(情報学)甲第18412号情博第527号新制||情||93(附属図書館)31270京都大学大学院情報学研究科知能情報学専攻(主査)教授 奥乃 博, 教授 河原 達也, 准教授 CUTURI CAMETO Marco, 講師 吉井 和佳学位規則第4条第1項該当Doctor of InformaticsKyoto UniversityDFA

Extremity and excess : proceedings of the 2011 University of Salford College of Arts and Social Sciences postgraduate research conference

The essays gathered in this volume explore the difficulties of classifying and conceptualizing the extreme and the excessive. Uniting a broad selection of new research (initially presented as part of the University of Salford’s annual College of Arts and Social Sciences Conference 2011), the collection queries some of the premises surrounding these topics: ideas that are most often presented as a counterpoint to a perceived ‘normality’. Both terrorism/responses to terrorist threat and the grotesque within horror cinema are represented whilst perhaps reflecting that which is deemed outside of the general parameters of acceptability and decency. Yet there is also a focus on subjects that may, at first, be seen as less radical. From alternative representations of authorship to new technology’s attempts at ‘realness’, prose as hysteria through to melodramatic depictions of war and, finally, approaches that aim to challenge the more commonplace critical strategies employed in the assessment of both fine art and fine artists, this collection will be of particular interest to students and scholars prepared to look beyond a concept that may hint at the merely shocking and engage with a more widely interpreted and nuanced critique of extremity and excess

Vista: November 20, 2003

https://digital.sandiego.edu/vista/1314/thumbnail.jp

Theatres of Reality, Fiction, and Temporality: Vegard Vinge and Ida Müller’s \u3cem\u3eIbsen-Saga\u3c/em\u3e (2006 - 2015)

This dissertation examines the influence of modernist aesthetics and ideologies on contemporary, European and U.S. experimental theatre. I argue that modernist and contemporary experimental theatres offer competing notions of reality, fiction, and temporality, which I interrogate through Vegard Vinge and Ida Müller’s Ibsen-Saga. I illuminate this tension by reading current modes of performance against the Saga’s productions and work practices, as well as their aesthetic and ideological foundation in three modernist sources: the artificiality of Ibsen’s realism, the utopianism and totality of Richard Wagner’s Gesamtkunstwerk, and the temporal provocations of the historical avant-gardes. I contend that the Saga reanimates Ibsen, Wagner, and the avant-gardes’ modernist forms and ideas to reject the conventions of twenty-first century practice

Body of glass: cybernetic bodies and the mirrored self

This thesis examines the ontology of the cyborg body and the politics inherent to cultural manifestations of that image, and focuses on the links between glass and human-machine integration, while tracing the dangerous political affinities that emerge when such links are exposed. In the first chapter, the cyborg’s persistent construction as a cultural Black Box is uncovered using the theories of Bruno Latour and W. Ross Ashby. It examines why the temptation to explore the cyborg solely through close readings of contemporary incarnations leads only to confusion and misreading. The second chapter builds on the work of the first by placing the cyborg within its proper historical context, and provides a detailed examination of the period in which the cyborg was not only named, but also transformed into a physical possibility with an existent political agenda. It then investigates the phallogocentricity, hyper-masculinity, and inherent racism of the cyborg body, and demonstrates how representations of human-machine integration reinforce the pre-existing racist, hetero-normative, patriarchal hegemony of the Cold War. The discussion then explores the issue of the emergent property in the cyborg body; specifically, the figure’s persistent construction as a ‘body of glass.’ It demonstrates how cyborgs are not only associated with objects like the mirror, but also how that figure is tied to visual motifs such as the double or doppelganger. Accordingly, the theories of Jacques Lacan are employed to elucidate the issues that arise when one of the most pervasive images in Western culture also doubles as a reflector. The final chapter seeks to expand upon the framework provided by Lacan, and examines the cyborg not as a mirror, but as a portal. Subsequently, this section challenges not only the cyborg’s current status as a posthuman figure, but also current theoretical assumptions which frame the cyborg as the point of transition from humanism to posthumanism

Pandemic Media: Preliminary Notes Toward an Inventory

With its unprecedented scale and consequences the COVID-19 pandemic has generated a variety of new configurations of media. Responding to demands for information, synchronization, regulation, and containment, these "pandemic media" reorder social interactions, spaces, and temporalities, thus contributing to a reconfiguration of media technologies and the cultures and polities with which they are entangled. Highlighting media’s adaptability, malleability, and scalability under the conditions of a pandemic, the contributions to this volume track and analyze how media emerge, operate, and change in response to the global crisis and provide elements toward an understanding of the post-pandemic world to come