22 research outputs found
Proceedings of the 4th International Workshop on Reading Music Systems
The International Workshop on Reading Music Systems (WoRMS) is a workshop
that tries to connect researchers who develop systems for reading music, such
as in the field of Optical Music Recognition, with other researchers and
practitioners that could benefit from such systems, like librarians or
musicologists.
The relevant topics of interest for the workshop include, but are not limited
to: Music reading systems; Optical music recognition; Datasets and performance
evaluation; Image processing on music scores; Writer identification; Authoring,
editing, storing and presentation systems for music scores; Multi-modal
systems; Novel input-methods for music to produce written music; Web-based
Music Information Retrieval services; Applications and projects; Use-cases
related to written music.
These are the proceedings of the 4th International Workshop on Reading Music
Systems, held online on Nov. 18th 2022.Comment: Proceedings edited by Jorge Calvo-Zaragoza, Alexander Pacha and Elona
Shatr
A Convolutional-Attentional Neural Framework for Structure-Aware Performance-Score Synchronization
Performance-score synchronization is an integral task in signal processing,
which entails generating an accurate mapping between an audio recording of a
performance and the corresponding musical score. Traditional synchronization
methods compute alignment using knowledge-driven and stochastic approaches, and
are typically unable to generalize well to different domains and modalities. We
present a novel data-driven method for structure-aware performance-score
synchronization. We propose a convolutional-attentional architecture trained
with a custom loss based on time-series divergence. We conduct experiments for
the audio-to-MIDI and audio-to-image alignment tasks pertained to different
score modalities. We validate the effectiveness of our method via ablation
studies and comparisons with state-of-the-art alignment approaches. We
demonstrate that our approach outperforms previous synchronization methods for
a variety of test settings across score modalities and acoustic conditions. Our
method is also robust to structural differences between the performance and
score sequences, which is a common limitation of standard alignment approaches.Comment: Published in IEEE Signal Processing Letters, Volume 29, December 202
Wired for sound : on the digitalisation of music and music culture
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Open, mobile and indeterminate forms
This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Since the early fifties “open form” has become a generic description for many different compositional concepts having in common musical outcomes which to a certain degree are indeterminate. The introduction looks into different meanings given to “form” in music and gives a historical survey of the origins of compositional indeterminacy. Next, the concept of “open form” is elaborated into a territory which is usually not associated with it: jazz.
The introduction is followed by five case studies.
Folio (1952-54) by Earle Brown is considered to contain the first intentionally “open form” works. It is driven by improvisational ideas, either at the compositional stage or at the interpretative stage. Brown's affinity with jazz also offers connections to other topics of the thesis.
Miles Davis' Ife (1972) may at first seem like an odd inclusion in this study, but it is not. Its only oddity could be that of all the works discussed it has no score. But it is a composition; it is recognizable throughout its various incarnations and repeatable, and its outcome is indeterminate.
Adam Rudolph did not conceive Ostinatos of Circularity as an “open form” work, but it is an indeterminate composition: it does have a score the musical result of which depends on the decisions made by the composer/conductor during the performance as well as the choices made by the performers.
In Peter Zummo's Experimenting with Household Chemicals the performers play the same, often ambiguous, score, moving in the same direction at their own speed and discretion. The lack of synchronicity and the ambiguous notation result in a very elastic organic form.
Anne La Berge refers to her recent works as “guided improvisations”. The scores mainly consist of suggestive text materials, software preset descriptions and rudimentary verbal indications, leaving major decisions to the performers.
The last chapter is about my own work. It presents seven works (the scores of which can be found in the accompanying portfolio), composed between 2007 and 2011. Each of these works uses the score as a “field” through which the performers roam
The Music Sound
A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video.
Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes.
The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration.
Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music
The Race of Sound
In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way