643 research outputs found
Correction system for polyphonic piano recordings
M.I. Martin-Erdozain, I. Barbancho, A. Rosa-Pujazon, A.M. Barbancho, "Correction system for polyphonic piano recordings", XXVIII Simposium Nacional de la Unión Científica Internacional de Radio, Santiago de Compostela, España, 2013n this paper, a support tool for piano rehearsal
is presented. The system analyses a given piano polyphonic
recording to find the times, pitch and duration of the notes
and figures played, taking into account the possibility of playing
more than one note simultaneously as well as covering the whole
piano frequency range. In order to do so, the system uses
an onset detection algorithm to segment the input signal into
partitions which are then analysed in the time and frequency
domains. Then, the system correlates the data extracted from
the partitions with the score of the original piece, identifying
the positions and type of the mistakes performed by the user,
and providing her/him with the corresponding feedback. The
experiments conducted showed that the application is capable
of analysing a given recording and indicate the musician the
mistakes made.This work has been funded by the Ministerio de Economia y
Competitividad of the Spanish Government under Project No.
TIN2010-21089-C03-02 and by the Ministerio de Industria,
Turismo y Comercio under Project No. TSI-090100-2011-25
A Music Programming Course for Undergraduate Music Conservatory Students: Evaluation and Lessons Learnt
This paper introduces the content and organisation of a music programming course offered to undergraduate Conservatory students in the spring of 2022. A number of evaluation procedures, including pre- and post-course questionnaires and exercises, and a final assignment have been administered by the teacher. Results indicate an increased confidence in the use of computers and programming, although some aspects of creativity and computational thinking need further revision. The authors examine the course content in light of the results obtained, discuss the followed approach, and make assumptions for the improvement of both course content and assessment methods
Using Autoregressive Models for Real-Time Packet Loss Concealment in Networked Music Performance Applications
In Networked Music Performances (NMP), concealing the effects of lost/late packets on the quality of the playback audio stream is of pivotal importance to mitigate the impact of the resulting audio artifacts. Traditional packet loss concealment techniques implemented in standard audio codecs can be leveraged only at the price of an increased mouth-to-ear latency, which may easily exceed the strict delay requirements of NMP interactions.
This paper investigates the adoption of a low-complexity prediction technique based on autoregressive models to fill audio gaps caused by missing packets. Numerical results show that the proposed approach outperforms packet loss concealment methods normally implemented in NMP systems, typically based on filling audio gaps with silence or repetition of the last received audio segment
Automatic transcription of polyphonic music exploiting temporal evolution
PhDAutomatic music transcription is the process of converting an audio recording
into a symbolic representation using musical notation. It has numerous applications
in music information retrieval, computational musicology, and the
creation of interactive systems. Even for expert musicians, transcribing polyphonic
pieces of music is not a trivial task, and while the problem of automatic
pitch estimation for monophonic signals is considered to be solved, the creation
of an automated system able to transcribe polyphonic music without setting
restrictions on the degree of polyphony and the instrument type still remains
open.
In this thesis, research on automatic transcription is performed by explicitly
incorporating information on the temporal evolution of sounds. First efforts address
the problem by focusing on signal processing techniques and by proposing
audio features utilising temporal characteristics. Techniques for note onset and
offset detection are also utilised for improving transcription performance. Subsequent
approaches propose transcription models based on shift-invariant probabilistic
latent component analysis (SI-PLCA), modeling the temporal evolution
of notes in a multiple-instrument case and supporting frequency modulations in
produced notes. Datasets and annotations for transcription research have also
been created during this work. Proposed systems have been privately as well as
publicly evaluated within the Music Information Retrieval Evaluation eXchange
(MIREX) framework. Proposed systems have been shown to outperform several
state-of-the-art transcription approaches.
Developed techniques have also been employed for other tasks related to music
technology, such as for key modulation detection, temperament estimation,
and automatic piano tutoring. Finally, proposed music transcription models
have also been utilized in a wider context, namely for modeling acoustic scenes
Towards the automated analysis of simple polyphonic music : a knowledge-based approach
PhDMusic understanding is a process closely related to the knowledge and experience
of the listener. The amount of knowledge required is relative to the
complexity of the task in hand.
This dissertation is concerned with the problem of automatically decomposing
musical signals into a score-like representation. It proposes that, as
with humans, an automatic system requires knowledge about the signal and
its expected behaviour to correctly analyse music.
The proposed system uses the blackboard architecture to combine the
use of knowledge with data provided by the bottom-up processing of the
signal's information. Methods are proposed for the estimation of pitches,
onset times and durations of notes in simple polyphonic music.
A method for onset detection is presented. It provides an alternative to
conventional energy-based algorithms by using phase information. Statistical
analysis is used to create a detection function that evaluates the expected
behaviour of the signal regarding onsets.
Two methods for multi-pitch estimation are introduced. The first concentrates
on the grouping of harmonic information in the frequency-domain.
Its performance and limitations emphasise the case for the use of high-level
knowledge.
This knowledge, in the form of the individual waveforms of a single
instrument, is used in the second proposed approach. The method is based
on a time-domain linear additive model and it presents an alternative to
common frequency-domain approaches.
Results are presented and discussed for all methods, showing that, if
reliably generated, the use of knowledge can significantly improve the quality
of the analysis.Joint Information Systems Committee (JISC) in the UK National Science Foundation (N.S.F.) in the United states. Fundacion Gran Mariscal Ayacucho in Venezuela
Multipart music as a conceptual tool. A Proposal
The term ‘multipart music’ began to be used within our literature recently. Literally, it designates a generic co-presence of manifold components ‘inside a music’ without qualifying exactly what kind of co-presence is in play. Nevertheless, ‘multipart music’ is used more and more often, replacing the historically connoted term ‘polyphony’ which immediately refers to the domain of so-called western art music. Importantly, ‘multipart music’ has the advantage of containing the term ‘part’ which can be considered in the theatrical sense of ‘role’, thus shifting the focus towards the essence of the musical action, namely the performative behaviours from which the sound intertwining springs. These actions can be interpreted as coordination of diff erent sound gestures, i.e. bodily actions which begin and end and which have c haracteristic features and confi gurations that can be represented in terms of rhythmic-temporal dimensions and pitch chains. In such a perspective this paper focuses on what individuals do when they sing/play together in organized ways. Using diff erent examples, the paper off ers a contribution to the theoretical discourses of the ICTM (International Council for Traditional Music) Study Group on Multipart Music
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