40,863 research outputs found
Multi-label Ferns for Efficient Recognition of Musical Instruments in Recordings
In this paper we introduce multi-label ferns, and apply this technique for
automatic classification of musical instruments in audio recordings. We compare
the performance of our proposed method to a set of binary random ferns, using
jazz recordings as input data. Our main result is obtaining much faster
classification and higher F-score. We also achieve substantial reduction of the
model size
Understanding concurrent earcons: applying auditory scene analysis principles to concurrent earcon recognition
Two investigations into the identification of concurrently presented, structured sounds, called earcons were carried out. One of the experiments investigated how varying the number of concurrently presented earcons affected their identification. It was found that varying the number had a significant effect on the proportion of earcons identified. Reducing the number of concurrently presented earcons lead to a general increase in the proportion of presented earcons successfully identified. The second experiment investigated how modifying the earcons and their presentation, using techniques influenced by auditory scene analysis, affected earcon identification. It was found that both modifying the earcons such that each was presented with a unique timbre, and altering their presentation such that there was a 300 ms onset-to-onset time delay between each earcon were found to significantly increase identification. Guidelines were drawn from this work to assist future interface designers when incorporating concurrently presented earcons
Toward an ecological conception of timbre
This paper is part of a series in which we had worked in the last 6 months, and, specifically, intend to investigate the notion of timbre through the ecological perspective proposed by James Gibson in his Theory of Direct Perception. First of all, we discussed the traditional approach to timbre, mainly as developed in acoustics and psychoacoustics. Later, we proposed a new conception of timbre that was born in concepts of ecological approach.
The ecological approach to perception proposed by Gibson (1966, 1979) presupposes a level of analysis of perceptual stimulated that includes, but is quite broader than the usual physical aspect. Gibson suggests as focus the relationship between the perceiver and his environment. At the core of this approach, is the notion of affordances, invariant combinations of properties at the ecological level, taken with reference to the anatomy and action systems of species or individual, and also with reference to its biological and social needs. Objects and events are understood as relates to a perceiving organism by the meaning of structured information, thus affording possibilities of action by the organism.
Event perception aims at identifying properties of events to specify changes of the environment that are relevant to the organism. The perception of form is understood as a special instance of event perception, which is the identity of an object depends on the nature of the events in which is involved and what remains invariant over time. From this perspective, perception is not in any sense created by the brain, but is a part of the world where information can be found. Consequently, an ecological approach represents a form of direct realism that opposes the indirect realist based on predominant approaches to perception borrowed from psychoacoustics and computational approach
Key Components of Musical Discourse Analysis
Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of âsemiosisâ, âsocial agentsâ, âsocial relationsâ, âsocial contextâ, and âtextâ. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse
The Art of Engaging: Implications for Computer Music Systems
The art of engaging with computer music systems is multifaceted. This paper will provide an overview of the issues of interface between musician and computer, cognitive aspects of engagement as involvement, and metaphysical understandings of engagement as proximity. Finally, this paper will examine implications for the design of computer music systems when these issues are taken into account
Introduction to Gestural Similarity in Music. An Application of Category Theory to the Orchestra
Mathematics, and more generally computational sciences, intervene in several
aspects of music. Mathematics describes the acoustics of the sounds giving
formal tools to physics, and the matter of music itself in terms of
compositional structures and strategies. Mathematics can also be applied to the
entire making of music, from the score to the performance, connecting
compositional structures to acoustical reality of sounds. Moreover, the precise
concept of gesture has a decisive role in understanding musical performance. In
this paper, we apply some concepts of category theory to compare gestures of
orchestral musicians, and to investigate the relationship between orchestra and
conductor, as well as between listeners and conductor/orchestra. To this aim,
we will introduce the concept of gestural similarity. The mathematical tools
used can be applied to gesture classification, and to interdisciplinary
comparisons between music and visual arts.Comment: The final version of this paper has been published by the Journal of
Mathematics and Musi
Syntonets: Toward A Harmony-Inspired General Model of Complex Networks
We report an approach to obtaining complex networks with diverse topology,
here called syntonets, taking into account the consonances and dissonances
between notes as defined by scale temperaments. Though the fundamental
frequency is usually considered, in real-world sounds several additional
frequencies (partials) accompany the respective fundamental, influencing both
timber and consonance between simultaneous notes. We use a method based on
Helmholtz's consonance approach to quantify the consonances and dissonances
between each of the pairs of notes in a given temperament. We adopt two
distinct partials structures: (i) harmonic; and (ii) shifted, obtained by
taking the harmonic components to a given power , which is henceforth
called the anharmonicity index. The latter type of sounds is more realistic in
the sense that they reflect non-linearities implied by real-world instruments.
When these consonances/dissonances are estimated along several octaves,
respective syntonets can be obtained, in which nodes and weighted edge
represent notes, and consonance/dissonance, respectively. The obtained results
are organized into two main groups, those related to network science and
musical theory. Regarding the former group, we have that the syntonets can
provide, for varying values of , a wide range of topologies spanning the
space comprised between traditional models. Indeed, it is suggested here that
syntony may provide a kind of universal complex network model. The musical
interpretations of the results include the confirmation of the more regular
consonance pattern of the equal temperament, obtained at the expense of a wider
range of consonances such as that in the meantone temperament. We also have
that scales derived for shifted partials tend to have a wider range of
consonances/dissonances, depending on the temperament and anharmonicity
strength
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