22 research outputs found

    Proceedings of the 4th International Workshop on Reading Music Systems

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    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

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    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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    EThOS - Electronic Theses Online ServiceGBUnited Kingdo

    The Music Sound

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    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

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    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
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