519 research outputs found
Timbre-invariant Audio Features for Style Analysis of Classical Music
Copyright: (c) 2014 Christof Weiß et al. This is an open-access article distributed under the terms of the Creative Commons Attribution 3.0 Unported License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited
A Functional Taxonomy of Music Generation Systems
Digital advances have transformed the face of automatic music generation
since its beginnings at the dawn of computing. Despite the many breakthroughs,
issues such as the musical tasks targeted by different machines and the degree
to which they succeed remain open questions. We present a functional taxonomy
for music generation systems with reference to existing systems. The taxonomy
organizes systems according to the purposes for which they were designed. It
also reveals the inter-relatedness amongst the systems. This design-centered
approach contrasts with predominant methods-based surveys and facilitates the
identification of grand challenges to set the stage for new breakthroughs.Comment: survey, music generation, taxonomy, functional survey, survey,
automatic composition, algorithmic compositio
When in Rome: A Meta-corpus of Functional Harmony
‘When in Rome’ brings together all human-made, computer-encoded, functional harmonic analyses of music. This amounts in total to over 2,000 analyses of 1,500 distinct works. The most obvious motivation is scale: gathering these datasets together leads to a corpus large and varied enough for tasks including machine learning for automatic analysis, composition, and classification, as well as at-scale anthology creation and more. Further benefits include bringing together a range of different composers and genres (previous datasets typically limit themselves to one context), and of analytical perspectives on those works. We offer this data in as ready-to-use and reproducible a state as possible at http://github.com/MarkGotham/When-in-Rome, with code and documentation for all tasks reported here, including corpus conversion routines and feature extraction
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Improving music genre classification using automatically induced harmony rules
We present a new genre classification framework using both low-level signal-based features and high-level harmony features. A state-of-the-art statistical genre classifier based on timbral features is extended using a first-order random forest containing for each genre rules derived from harmony or chord sequences. This random forest has been automatically induced, using the first-order logic induction algorithm TILDE, from a dataset, in which for each chord the degree and chord category are identified, and covering classical, jazz and pop genre classes. The audio descriptor-based genre classifier contains 206 features, covering spectral, temporal, energy, and pitch characteristics of the audio signal. The fusion of the harmony-based classifier with the extracted feature vectors is tested on three-genre subsets of the GTZAN and ISMIR04 datasets, which contain 300 and 448 recordings, respectively. Machine learning classifiers were tested using 5 × 5-fold cross-validation and feature selection. Results indicate that the proposed harmony-based rules combined with the timbral descriptor-based genre classification system lead to improved genre classification rates
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Improving music genre classification using automatically induced harmony rules
We present a new genre classification framework using both low-level signal-based features and high-level harmony features. A state-of-the-art statistical genre classifier based on timbral features is extended using a first-order random forest containing for each genre rules derived from harmony or chord sequences. This random forest has been automatically induced, using the first-order logic induction algorithm TILDE, from a dataset, in which for each chord the degree and chord category are identified, and covering classical, jazz and pop genre classes. The audio descriptor-based genre classifier contains 206 features, covering spectral, temporal, energy, and pitch characteristics of the audio signal. The fusion of the harmony-based classifier with the extracted feature vectors is tested on three-genre subsets of the GTZAN and ISMIR04 datasets, which contain 300 and 448 recordings, respectively. Machine learning classifiers were tested using 5 × 5-fold cross-validation and feature selection. Results indicate that the proposed harmony-based rules combined with the timbral descriptor-based genre classification system lead to improved genre classification rates
Logic-based Modelling of Musical Harmony for Automatic Characterisation and Classification
The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the authorMusic like other online media is undergoing an information explosion. Massive online
music stores such as the iTunes Store1 or Amazon MP32, and their counterparts, the streaming
platforms, such as Spotify3, Rdio4 and Deezer5, offer more than 30 million6 pieces of music to
their customers, that is to say anybody with a smart phone. Indeed these ubiquitous devices
offer vast storage capacities and cloud-based apps that can cater any music request. As Paul
Lamere puts it7:
“we can now have a virtually endless supply of music in our pocket. The ‘bottomless iPod’
will have as big an effect on how we listen to music as the original iPod had back in 2001.
But with millions of songs to chose from, we will need help finding music that we want to
hear [...]. We will need new tools that help us manage our listening experience.”
Retrieval, organisation, recommendation, annotation and characterisation of musical data is
precisely what the Music Information Retrieval (MIR) community has been working on for
at least 15 years (Byrd and Crawford, 2002). It is clear from its historical roots in practical
fields such as Information Retrieval, Information Systems, Digital Resources and Digital
Libraries but also from the publications presented at the first International Symposium on Music
Information Retrieval in 2000 that MIR has been aiming to build tools to help people to navigate,
explore and make sense of music collections (Downie et al., 2009). That also includes analytical
tools to suppor
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Chord Sequence patterns in OWL
This thesis addresses the representation of and reasoning on musical knowledge in the Semantic Web. The Semantic Web is an evolving extension of the World Wide Web that aims at describing information that is distributed on the web in a machine-processable form. Existing approaches to modelling musical knowledge in the context of the Semantic Web have focused on metadata. The description of musical content and reasoning as well as integration of content descriptions and metadata are yet open challenges. This thesis discusses the possibilities of representing musical knowledge in the Web Ontology Language (OWL) focusing on chord sequence representation and presents and evaluates a newly developed solution.
The solution consists of two main components. Ontological modelling patterns for musical entities such as notes and chords are introduced in the (MEO) ontology. A sequence pattern language and ontology (SEQ) has been developed that can express patterns in a form resembling regular expressions. As MEO and SEQ patterns both rewrite to OWL they can be combined freely. Reasoning tasks such as instance classification, retrieval and pattern subsumption are then executable by standard Semantic Web reasoners. The expressiveness of SEQ has been studied, in particular in relation to grammars.
The complexity of reasoning on SEQ patterns has been studied theoretically and empirically, and optimisation methods have been developed. There is still great potential for improvement if specific reasoning algorithms were developed to exploit the sequential structure, but the development of such algorithms is outside the scope of this thesis.
MEO and SEQ have also been evaluated in several musicological scenarios. It is shown how patterns that are characteristic of musical styles can be expressed and chord sequence data can be classified, demonstrating the use of the language in web retrieval and as integration layer for different chord patterns and corpora. Furthermore, possibilities of using SEQ patterns for harmonic analysis are explored using grammars for harmony; both a hybrid system and a translation of limited context-free grammars into SEQ patterns have been developed. Finally, a distributed scenario is evaluated where SEQ and MEO are used in connection with DBpedia, following the Linked Data approach. The results show that applications are already possible and will benefit in the future from improved quality and compatibility of data sources as the Semantic Web evolves
Automatic chord transcription from audio using computational models of musical context
PhDThis thesis is concerned with the automatic transcription of chords from audio, with an emphasis
on modern popular music. Musical context such as the key and the structural segmentation aid
the interpretation of chords in human beings. In this thesis we propose computational models
that integrate such musical context into the automatic chord estimation process.
We present a novel dynamic Bayesian network (DBN) which integrates models of metric
position, key, chord, bass note and two beat-synchronous audio features (bass and treble
chroma) into a single high-level musical context model. We simultaneously infer the most probable
sequence of metric positions, keys, chords and bass notes via Viterbi inference. Several
experiments with real world data show that adding context parameters results in a significant
increase in chord recognition accuracy and faithfulness of chord segmentation. The proposed,
most complex method transcribes chords with a state-of-the-art accuracy of 73% on the song
collection used for the 2009 MIREX Chord Detection tasks. This method is used as a baseline
method for two further enhancements.
Firstly, we aim to improve chord confusion behaviour by modifying the audio front end
processing. We compare the effect of learning chord profiles as Gaussian mixtures to the effect
of using chromagrams generated from an approximate pitch transcription method. We show
that using chromagrams from approximate transcription results in the most substantial increase
in accuracy. The best method achieves 79% accuracy and significantly outperforms the state of
the art.
Secondly, we propose a method by which chromagram information is shared between
repeated structural segments (such as verses) in a song. This can be done fully automatically
using a novel structural segmentation algorithm tailored to this task. We show that the technique
leads to a significant increase in accuracy and readability. The segmentation algorithm itself
also obtains state-of-the-art results. A method that combines both of the above enhancements
reaches an accuracy of 81%, a statistically significant improvement over the best result (74%)
in the 2009 MIREX Chord Detection tasks.Engineering and Physical Research Council U
Entropy, Probabilistic Harmonic Space, and the Harmony of Antonio Carlos Jobim
This paper introduces a theoretical framework derived from a deep and detailed harmonic analysis of songs composed by Antonio Carlos Jobim, focusing on two components, namely, “semantic” (related to the idea of chord type) and “syntactic” (involving binary relations between contiguous chords). The research is mainly focused on investigating the correlations between compositional style (here related to the harmonic construction) and the concepts of probability, expectance, and, especially entropy, being the latter defined as a measure of uncertainty or “surprise” of events along time. After a bibliographical review of these topics and their applications to music, a section exposes Markov Chains, a mathematical tool used to formalize the “semantic-syntactic” harmonic relations statistically inferred in the analyzed corpus of Jobim’s works. Then it follows the formalization of a probabilistic harmonic space and the concept of probabilistic index, directly associated with the entropy of the observed binary relations. This approach opens a new analytical perspective, also allowing the generalization of the presented theoretical and methodological technology for the examination of other repertoires and posterior comparison, presenting then as a new mean of investigation on the nature of style
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