Selection of melody lines for music databases

One major approach to music retrieval is to model music as a sequence of features, after which traditional information retrieval techniques are applied on the sequence. Because of the temporal nature of music and the inexactness of user queries, most effort on music retrieval systems focus on issues such as indexing and approximation match. In contrast, the processing of music before feature extraction, such as the identification of melody track, were often considered easy or done. This may be the case in a controlled environment, such as one for musicology research, where the pieces are carefully analyzed by human beings before being submitted to the database. However, in an environment where large volumes of music is obtained from the Web, manual music analysis is impractical. Since many well-known musical features often pertain to the melody of musical pieces, and users often remember the melody of a song, algorithms that select the melody tracks of a piece are important for Web-based content-based retrieval systems. In this paper, we describe a number of algorithms for automatic melody track selection in a music retrieval context. We will also study the performance of the algorithms by comparing their answers to those judged by human beings.published_or_final_versio

Methodological considerations concerning manual annotation of musical audio in function of algorithm development

In research on musical audio-mining, annotated music databases are needed which allow the development of computational tools that extract from the musical audiostream the kind of high-level content that users can deal with in Music Information Retrieval (MIR) contexts. The notion of musical content, and therefore the notion of annotation, is ill-defined, however, both in the syntactic and semantic sense. As a consequence, annotation has been approached from a variety of perspectives (but mainly linguistic-symbolic oriented), and a general methodology is lacking. This paper is a step towards the definition of a general framework for manual annotation of musical audio in function of a computational approach to musical audio-mining that is based on algorithms that learn from annotated data. 1

Automatic Music Composition using Answer Set Programming

Music composition used to be a pen and paper activity. These these days music is often composed with the aid of computer software, even to the point where the computer compose parts of the score autonomously. The composition of most styles of music is governed by rules. We show that by approaching the automation, analysis and verification of composition as a knowledge representation task and formalising these rules in a suitable logical language, powerful and expressive intelligent composition tools can be easily built. This application paper describes the use of answer set programming to construct an automated system, named ANTON, that can compose melodic, harmonic and rhythmic music, diagnose errors in human compositions and serve as a computer-aided composition tool. The combination of harmonic, rhythmic and melodic composition in a single framework makes ANTON unique in the growing area of algorithmic composition. With near real-time composition, ANTON reaches the point where it can not only be used as a component in an interactive composition tool but also has the potential for live performances and concerts or automatically generated background music in a variety of applications. With the use of a fully declarative language and an "off-the-shelf" reasoning engine, ANTON provides the human composer a tool which is significantly simpler, more compact and more versatile than other existing systems. This paper has been accepted for publication in Theory and Practice of Logic Programming (TPLP).Comment: 31 pages, 10 figures. Extended version of our ICLP2008 paper. Formatted following TPLP guideline

Predictive uncertainty in auditory sequence processing

Copyright © 2014 Hansen and Pearce. This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms

On the Modeling of Musical Solos as Complex Networks

Notes in a musical piece are building blocks employed in non-random ways to create melodies. It is the "interaction" among a limited amount of notes that allows constructing the variety of musical compositions that have been written in centuries and within different cultures. Networks are a modeling tool that is commonly employed to represent a set of entities interacting in some way. Thus, notes composing a melody can be seen as nodes of a network that are connected whenever these are played in sequence. The outcome of such a process results in a directed graph. By using complex network theory, some main metrics of musical graphs can be measured, which characterize the related musical pieces. In this paper, we define a framework to represent melodies as networks. Then, we provide an analysis on a set of guitar solos performed by main musicians. Results of this study indicate that the presented model can have an impact on audio and multimedia applications such as music classification, identification, e-learning, automatic music generation, multimedia entertainment.Comment: to appear in Information Science, Elsevier. Please cite the paper including such information. arXiv admin note: text overlap with arXiv:1603.0497

Application of singing synthesis techniquest to bertsolaritza

237 p

Application of singing synthesis techniquest to bertsolaritza

237 p

On the Use of Perceptual Properties for Melody Estimation

cote interne IRCAM: Liao11aInternational audienceThis paper is about the use of perceptual principles for melody estimation. The melody stream is understood as generated by the most dominant source. Since the source with the strongest energy may not be perceptually the most dominant one, it is proposed to study the perceptual properties for melody estimation: loudness, masking effect and timbre similarity. The related criteria are integrated into a melody estimation system and their respective contributions are evaluated. The effectiveness of these perceptual criteria is confirmed by the evaluation results using more than one hundred excerpts of music recordings