Ääreinformatsioonil põhinev esemete tuvastamine ja klassifitseerimine

This thesis presents work regarding the development a computationally cheap and reliable edge information based object detection and classification system for use on the NAO humanoid robots. The work covers ground detection, edge detection, edge clustering and cluster classification, the latter task being equivalent to object recognition. Numerous novel improvements are proposed, including a new geometric model for ground detection, a joint edge model using two edge detectors in unison for improved edge detection, and a hybrid edge clustering model. Also, a classification model is outlined along with example classifiers and used values. The work is illustrated graphically where applicable

Encoding Spatial Experience in Garhwali Popular Music Cassettes

Connections between particular sounds and geographically conceived places/spaces seems to be a recurrent part of many repertoires in different parts of the Himalaya. A number of examples exist in which ritual repertoires are linked to pilgrimage pathways, to specific spiritual sites or to an ordering of space in relation to geomorphic realities. In the North Indian region of Garhwal, these connections are most directly made within wedding processions in which particular repertoire items are mapped against particular landscapes and pathways. In other repertoire items, specific motivic devices are used in more subtle ways to enhance the spatial experience of performers and listeners. In popular music idioms, connections between sounds and geomorphically imagined spaces are achieved in ways that borrow from traditional repertoire but also expand the symbolic use of sound through studio enhancement. In conjunction with more obvious regional identifiers such as language, rituals, deities and costumes, sounds help construct a shared regional identity amongst listeners that is associated with the physical reality of mountains. This paper examines a selection of popular music songs from Garhwali cassettes from the 1980s, 90s and early 2000s and notes a number of consistent uses of particular sounds that prompt a spatial experience associated with a mountainous landscape

Composition Portfolio with Accompanying Comments and Analysis

My M.Phil project consists of eight original musical compositions of varying genre and style, together with accompanying analysis and commentary on these works. The compositions include pieces for full symphony orchestra, string quartet, clarinet quartet, and a number of other chamber works with varying instrumental combinations. Together, the works represent approximately fifty minutes of music, together with over nine thousand words of commentary and analysis. Some of my compositions have already been performed by the contemporary music ensemble, Concorde, and I have also completed a commission, with funds supplied by the Arts Council, for a work which was publicly performed and recorded by the same ensemble at the Hugh Lane Gallery of Modern Art

Features for the classification and clustering of music in symbolic format

Tese de mestrado, Engenharia Informática, Universidade de Lisboa, Faculdade de Ciências, 2008Este documento descreve o trabalho realizado no âmbito da disciplina de Projecto em Engenharia Informática do Mestrado em Engenharia Informática da Faculdade de Ciências da Universidade de Lisboa. Recuperação de Informação Musical é, hoje em dia, um ramo altamente activo de investigação e desenvolvimento na área de ciência da computação, e incide em diversos tópicos, incluindo a classificação musical por géneros. O trabalho apresentado centra-se na Classificação de Pistas e de Géneros de música armazenada usando o formato MIDI. Para resolver o problema da classificação de pistas MIDI, extraimos um conjunto de descritores que são usados para treinar um classificador implementado através de uma técnica de Máquinas de Aprendizagem, Redes Neuronais, com base nas notas, e durações destas, que descrevem cada faixa. As faixas são classificadas em seis categorias: Melody (Melodia), Harmony (Harmonia), Bass (Baixo) e Drums (Bateria). Para caracterizar o conteúdo musical de cada faixa, um vector de descritores numérico, normalmente conhecido como ”shallow structure description”, é extraído. Em seguida, eles são utilizados no classificador — Neural Network — que foi implementado no ambiente Matlab. Na Classificação por Géneros, duas propostas foram usadas: Modelação de Linguagem, na qual uma matriz de transição de probabilidades é criada para cada tipo de pista midi (Melodia, Harmonia, Baixo e Bateria) e também para cada género; e Redes Neuronais, em que um vector de descritores numéricos é extraído de cada pista, e é processado num Classificador baseado numa Rede Neuronal. Seis Colectâneas de Musica no formato Midi, de seis géneros diferentes, Blues, Country, Jazz, Metal, Punk e Rock, foram formadas para efectuar as experiências. Estes géneros foram escolhidos por partilharem os mesmos instrumentos, na sua maioria, como por exemplo, baixo, bateria, piano ou guitarra. Estes géneros também partilham algumas características entre si, para que a classificação não seja trivial, e para que a robustez dos classificadores seja testada. As experiências de Classificação de Pistas Midi, nas quais foram testados, numa primeira abordagem, todos os descritores, e numa segunda abordagem, os melhores descritores, mostrando que o uso de todos os descritores é uma abordagem errada, uma vez que existem descritores que confundem o classificador. Provou-se que a melhor maneira, neste contexto, de se classificar estas faixas MIDI é utilizar descritores cuidadosamente seleccionados. As experiências de Classificação por Géneros, mostraram que os Classificadores por Instrumentos (Single-Instrument) obtiveram os melhores resultados. Quatro géneros, Jazz, Country, Metal e Punk, obtiveram resultados de classificação com sucesso acima dos 80% O trabalho futuro inclui: algoritmos genéticos para a selecção de melhores descritores; estruturar pistas e musicas; fundir todos os classificadores desenvolvidos num único classificador.This document describes the work carried out under the discipline of Computing Engineering Project of the Computer Engineering Master, Sciences Faculty of the Lisbon University. Music Information Retrieval is, nowadays, a highly active branch of research and development in the computer science field, and focuses several topics, including music genre classification. The work presented in this paper focus on Track and Genre Classification of music stored using MIDI format, To address the problem of MIDI track classification, we extract a set of descriptors that are used to train a classifier implemented by a Neural Network, based on the pitch levels and durations that describe each track. Tracks are classified into four classes: Melody, Harmony, Bass and Drums. In order to characterize the musical content from each track, a vector of numeric descriptors, normally known as shallow structure description, is extracted. Then they are used as inputs for the classifier which was implemented in the Matlab environment. In the Genre Classification task, two approaches are used: Language Modeling, in which a transition probabilities matrix is created for each type of track (Melody, Harmony, Bass and Drums) and also for each genre; and an approach based on Neural Networks, where a vector of numeric descriptors is extracted from each track (Melody, Harmony, Bass and Drums) and fed to a Neural Network Classifier. Six MIDI Music Corpora were assembled for the experiments, from six different genres, Blues, Country, Jazz, Metal, Punk and Rock. These genres were selected because all of them have the same base instruments, such as bass, drums, piano or guitar. Also, the genres chosen share some characteristics between them, so that the classification isn’t trivial, and tests the classifiers robustness. Track Classification experiments using all descriptors and best descriptors were made, showing that using all descriptors is a wrong approach, as there are descriptors which confuse the classifier. Using carefully selected descriptors proved to be the best way to classify these MIDI tracks. Genre Classification experiments showed that the Single-Instrument Classifiers achieved the best results. Four genres achieved higher than 80% success rates: Jazz, Country, Metal and Punk. Future work includes: genetic algorithms; structurize tracks and songs; merge all presented classifiers into one full Automatic Genre Classification System

SENTIMENT ANALYSIS ON E-SPORTS FOR EDUCATION CURRICULUM USING NAIVE BAYES AND SUPPORT VECTOR MACHINE

The development of e-sports education is not just playing games, but about start making, development, marketing, research and other forms education aimed at training skills and providing knowledge in fostering character. The opinions expressed by the public can take form support, criticism and input. Very large volume of comments need to be analyzed accurately in order separate positive and negative sentiments. This research was conducted to measure opinions or separate positive and negative sentiments towards e-sports education, so that valuable information can be sought from social media. Data used in this study was obtained by crawling on social media Twitter. This study uses a classification algorithm, Naïve Bayes and Support Vector Machine. Comparison two algorithms produces predictions obtained that the Naïve Bayes algorithm with SMOTE gets accuracy value 70.32%, and AUC value 0.954. While Support Vector Machine with SMOTE gets accuracy value 66.92% and AUC value 0.832. From these results can be concluded that Naïve Bayes algorithm has a higher accuracy compared to Support Vector Machine algorithm, it can be seen that the accuracy difference between naïve Bayes and the vector machine support is 3.4%. Naïve Bayes algorithm can thus better predict the achievement of e-sports for students' learning curriculum

Staging the Narrative

Throughout this thesis, I will look at the concept album as a discursive genre with a focus on La Dispute’s second full-length album Wildlife, released in 2011. By engaging with the narrative and the performance of Wildlife, I will analyze and discuss aspects that are germane to the musical genre of post-hardcore, which will aim to answer the following research question: How do authenticity and performativity inform the listener’s response to the interplay of narrative and performance in La Dispute’s concept album Wildlife? Part one of this thesis will focus on the theoretical framework I base my discussion on. The terms “performance” and “narrative” will be thoroughly examined, and my findings will support the second part, where I use the method of close reading and close listening to analyze the album and answer the research question. The analysis follows the same structure as the album, which is divided into four parts, all of which discuss separate themes and events that tie together with an overarching narrative

A performer\u27s guide to theatrical elements in selected trombone literature

In the last forty years, many new solo and chamber pieces have been written for the trombone which involve elements of a theatrical nature, including lighting, make-up, costume, stage direction, dialogue/narration, sound effects, props, and audience interaction. It is difficult for a trombonist searching for music to discern a piece\u27s theatrical nature by its listing in most catalogs. This document has attempted to solve that problem by gathering pieces that share these elements into an annotated collection. Nearly 200 pieces were discovered through contacts made with individual trombonists, composers, and publishers around the world. Of these, over sixty were acquired and subsequently analyzed. Each piece analyzed has an individual entry in the body of the paper that does three things: gives a detailed description of all theatrical elements utilized in grid format; gives a general description of each piece and discusses any special considerations necessary for its execution in paragraph format; and assigns a theatricity rating between one and ten to each piece for a comparative perspective to the entire collection. The preface of the document discusses the pedagogical motivation for the project. The introduction discusses the research process and describes in greater detail the format of the individual entries. The main body of the document consists of the entries themselves. The conclusion discusses various commonalties that emerged from close inspection of these compositions. For easy referencing an index devoted to each theatrical element is included so the reader can get a comparative perspective on all the pieces that incorporate that element. An index of publishers is also included to help the reader in locating any desired pieces

On Self-Organized Criticality and Synchronization in Lattice Models of Coupled Dynamical Systems

Lattice models of coupled dynamical systems lead to a variety of complex behaviors. Between the individual motion of independent units and the collective behavior of members of a population evolving synchronously, there exist more complicated attractors. In some cases, these states are identified with self-organized critical phenomena. In other situations, with clusterization or phase-locking. The conditions leading to such different behaviors in models of integrate-and-fire oscillators and stick-slip processes are reviewed.Comment: 41 pages. Plain LaTeX. Style included in main file. To appear as an invited review in Int. J. Modern Physics B. Needs eps

An annotated bibliography of works for solo marimba and electronics published from 1978-2012

The purpose of this study was to create an annotated bibliography of works for solo marimba and electronics published from 1978-2012. Thirty-four compositions were included in the annotated bibliography. For inclusion in this study, works met criteria established as follows: published and commercially available prior to January 1, 2013; supplied with both the score and accompaniment material; written for an individual performer; original composition for marimba; and marimba was the only keyboard percussion instrument. The incidental use of auxiliary percussion instruments did not disqualify a work for inclusion. The information identified in each entry of the annotated bibliography includes title, composer, publisher, range of marimba needed, duration of the work, number of movements, the type of accompaniment, and composer or publisher's notes. Entries in the bibliography were organized alphabetically by composer last name. Each entry contains overviews of the accompaniment and performance techniques, including four-mallet stroke types and difficulty, as well as a musical overview, which covers such topics as specific challenges within the work or mallet selection. The annotations are neither meant to evaluate the musical merits of the works nor make observations or draw conclusions regarding the development of the identified compositions. The information provided in this document is intended to serve as a practical and useful resource for performers and bring broader awareness to the included works. The first chapter includes discussion of the study's limitations and the process for identifying and selecting works included works. The scope of academic research relevant to works for solo marimba and electronics is examined in Chapter Two. The third chapter includes discussion of the annotation formats used in bibliographies of marimba literature that serve as the basis for the annotations contained in this document, as well as defining the terminology contained in these annotations. Chapter Four is the annotated bibliography of published works for solo marimba and electronics. The fifth chapter is a summary of the study followed by conclusions and suggestions for further research. Three appendices index the included works by title, date, and duration