Inpainting of long audio segments with similarity graphs

We present a novel method for the compensation of long duration data loss in audio signals, in particular music. The concealment of such signal defects is based on a graph that encodes signal structure in terms of time-persistent spectral similarity. A suitable candidate segment for the substitution of the lost content is proposed by an intuitive optimization scheme and smoothly inserted into the gap, i.e. the lost or distorted signal region. Extensive listening tests show that the proposed algorithm provides highly promising results when applied to a variety of real-world music signals

Double bass intonation: a systematic approach to solo and ensemble playing

This study uses an interdisciplinary approach to analyze double bass intonation as it occurs in a solo (i.e., without playing with any additional instruments) and ensemble contexts, develops a systematic approach to double bass intonation (subsequently referred to as “the system”), and applies that system to double bass literature to theoretically test its applicability. While the examples used come mostly from the orchestral literature, the material presents passages often heard in an orchestral audition context in which the bass is played by itself. Intonation generally is examined according to acoustics, psychoacoustics, cognition, historical and modern performance practice, and pedagogy. The salient principle extracted is that acceptable intonation is generated from the satisfaction of several factors, including clear categorical assignment of an interval’s size in a tonal context, highly rated timbral characteristics of the sound produced, and tone placement conforming to emotional schematic expectations, and a general model of acceptable intonation is thereby proposed. With this background, the particular intonation difficulties of the double bass are analyzed, including acoustic roughness, psychoacoustic roughness, and part-specific intonation expectations. The resonance system of double bass intonation proposed is intended to minimize acoustic and psychoacoustic roughness while staying within the categorical bounds of intonation and maximizing conformity to schematic expectations. The system’s efficacy is theoretically tested against examples from the double bass literature from various time periods, keys, and modes. It is found to conform in most cases to intonation expectations, and where not, alternative readings and tone placements are suggested. A possible course of study to implement the system is then suggested, as are extensions and ideas for further related research

Prosodic detail in Neapolitan Italian

Recent findings on phonetic detail have been taken as supporting exemplar-based approaches to prosody. Through four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering insights on how pragmatic information is conveyed by prosody

Prosodic detail in Neapolitan Italian

Recent findings on phonetic detail have been taken as supporting exemplar-based approaches to prosody. Through four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering insights on how pragmatic information is conveyed by prosody

Prosodic detail in Neapolitan Italian

Recent findings on phonetic detail have been taken as supporting exemplar-based approaches to prosody. Through four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering insights on how pragmatic information is conveyed by prosody

Automated methods for audio-based music analysis with applications to musicology

This thesis contributes to bridging the gap between music information retrieval (MIR) and musicology. We present several automated methods for music analysis, which are motivated by concrete application scenarios being of central importance in musicology. In this context, the automated music analysis is performed on the basis of audio material. Here, one reason is that for a given piece of music usually many different recorded performances exist. The availability of multiple versions of a piece of music is exploited in this thesis to stabilize analysis results. We show how the presented automated methods open up new possibilities for supporting musicologists in their work. Furthermore, we introduce novel interdisciplinary concepts which facilitate the collaboration between computer scientists and musicologists. Based on these concepts, we demonstrate how MIR researchers and musicologists may greatly benefit from each other in an interdisciplinary collaboration. Firstly, we present a fully automatic approach for the extraction of tempo parameters from audio recordings and show to which extent this approach may support musicologists in analyzing recorded performances. Secondly, we introduce novel user interfaces which are aimed at encouraging the exchange between computer science and musicology. In this context, we indicate the potential of computer-based methods in music education by testing and evaluating a novel MIR user interface at the University of Music Saarbrücken. Furthermore, we show how a novel multi-perspective user interface allows for interactively viewing and evaluating version-dependent analysis results and opens up new possibilities for interdisciplinary collaborations. Thirdly, we present a cross-version approach for harmonic analysis of audio recordings and demonstrate how this approach enables musicologists to explore harmonic structures even across large music corpora. Here, one simple yet important conceptual contribution is to convert the physical time axis of an audio recording into a performance-independent musical time axis given in bars.Diese Arbeit trägt dazu bei, die Brücke zwischen der automatisierten Musikverarbeitung und der Musikwissenschaft zu schlagen. Ausgehend von Anwendungen, die in der Musikwissenschaft von zentraler Bedeutung sind, stellen wir verschiedene automatisierte Verfahren vor. Die automatisierte Musikanalyse wird hierbei auf der Basis von Audiodaten durchgeführt. Ein Grund hierfür ist, dass zu einem gegebenen Musikstück üblicherweise viele verschiedene Aufnahmen existieren. Die Verfügbarkeit mehrerer Versionen zu ein und demselben Musikstück wird in dieser Arbeit ausgenutzt, um Analyseresultate zu stabilisieren. Wir demonstrieren, inwieweit die vorgestellten automatisierten Methoden neue Möglichkeiten eröffnen, Musikwissenschaftler in ihrer Arbeit zu unterstützen. Außerdem führen wir neue interdisziplinäre Konzepte ein, die die Kollaboration zwischen Informatikern und Musikwissenschaftlern erleichtern. Auf der Basis dieser Konzepte zeigen wir, dass Informatiker und Musikwissenschaftler im Rahmen einer interdisziplinären Kollaboration erheblich voneinander profitieren können. Erstens stellen wir ein vollautomatisches Verfahren zur Extraktion von Tempoparametern aus Audioaufnahmen vor und zeigen, inwieweit dieses Verfahren Musikwissenschaftler bei der Interpretationsanalyse verschiedener Aufnahmen unterstützen kann. Zweitens führen wir neuartige Benutzerschnittstellen ein, die darauf abzielen, den Austausch zwischen der Informatik und der Musikwissenschaft zu fördern. In diesem Zusammenhang testen und evaluieren wir eine Benutzerschnittstelle an der Hochschule für Musik Saar und deuten auf diese Weise das Potential computer-basierter Methoden im Bereich der Musikerziehung an. Weiterhin stellen wir eine neuartige Benutzerschnittstelle vor, die es auf interaktive Weise ermöglicht, verschiedene Sichtweisen auf versionsabhängige Analyseresultate einzunehmen und diese auszuwerten. Diese Benutzerschnittstelle eröffnet neue Möglichkeiten für interdisziplinäre Kollaborationen. Drittens zeigen wir, wie eine cross-version harmonische Analyse es Musikwissenschaftlern ermöglicht, harmonische Strukturen über riesige musikalische Werkzyklen hinweg zu ergründen. In diesem Zusammenhang ist ein einfacher aber wichtiger konzeptueller Beitrag, die physikalische Zeitachse einer Audioaufnahme in eine versionsunabhängige musikalische Zeitachse gegeben in Takten zu verwandeln

Prosodic detail in Neapolitan Italian

Recent findings on phonetic detail have been taken as supporting exemplar- based approaches to prosody. Trough four experiments on both production and perception of both melodic and temporal detail in Neapolitan Italian, we show that prosodic detail is not incompatible with abstractionist approaches either. Specifically, we suggest that the exploration of prosodic detail leads to a refined understanding of the relationships between the richly specified and continuous varying phonetic information on one side, and coarse phonologically structured contrasts on the other, thus offering insights on how pragmatic information is conveyed by prosody. About the Author: Francesco Cangemi Francesco Cangemi (1983) studied Literature and Philology in Naples, completing his undergraduate studies with a published MA dissertation on vowel systems in southern Italian dialects. After receiving his PhD in Linguistics from Aix-Marseille University with a thesis on underspecification in prosodic categories, he is currently working as a post-doc researcher in Cologne, focussing on the encoding and decoding of linguistic prominence, and in Zürich, focussing on morphosyntactic agreement in Italian dialects

Analyse de structures répétitives dans les séquences musicales

Cette thèse rend compte de travaux portant sur l inférence de structures répétitives à partir du signal audio à l aide d algorithmes du texte. Son objectif principal est de proposer et d évaluer des algorithmes d inférence à partir d une étude formelle des notions de similarité et de répétition musicale.Nous présentons d abord une méthode permettant d obtenir une représentation séquentielle à partir du signal audio. Nous introduisons des outils d alignement permettant d estimer la similarité entre de telles séquences musicales, et évaluons l application de ces outils pour l identi cation automatique de reprises. Nous adaptons alors une technique d indexation de séquences biologiques permettant une estimation e cace de la similarité musicale au sein de bases de données conséquentes.Nous introduisons ensuite plusieurs répétitions musicales caractéristiques et employons les outils d alignement pour identi er ces répétitions. Une première structure, la répétition d un segment choisi, est analysée et évaluée dans le cadre dela reconstruction de données manquantes. Une deuxième structure, la répétition majeure, est dé nie, analysée et évaluée par rapport à un ensemble d annotations d experts, puis en tant qu alternative d indexation pour l identi cation de reprises.Nous présentons en n la problématique d inférence de structures répétitives telle qu elle est traitée dans la littérature, et proposons notre propre formalisation du problème. Nous exposons alors notre modélisation et proposons un algorithme permettant d identi er une hiérarchie de répétitions. Nous montrons la pertinence de notre méthode à travers plusieurs exemples et en l évaluant par rapport à l état de l art.The work presented in this thesis deals with repetitive structure inference from audio signal using string matching techniques. It aims at proposing and evaluating inference algorithms from a formal study of notions of similarity and repetition in music.We rst present a method for representing audio signals by symbolic strings. We introduce alignment tools enabling similarity estimation between such musical strings, and evaluate the application of these tools for automatic cover song identi cation. We further adapt a bioinformatics indexing technique to allow e cient assessments of music similarity in large-scale datasets. We then introduce several speci c repetitive structures and use alignment tools to analyse these repetitions. A rst structure, namely the repetition of a chosen segment, is retrieved and evaluated in the context of automatic assignment of missingaudio data. A second structure, namely the major repetition, is de ned, retrieved and evaluated regarding expert annotations, and as an alternative indexing method for cover song identi cation.We nally present the problem of repetitive structure inference as addressed in literature, and propose our own problem statement. We further describe our model and propose an algorithm enabling the identi cation of a hierarchical music structure. We emphasize the relevance of our method through several examples and by comparing it to the state of the art.BORDEAUX1-Bib.electronique (335229901) / SudocSudocFranceF