464 research outputs found

    Convolutional Methods for Music Analysis

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    A Geometric Approach to Pattern Matching in Polyphonic Music

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    The music pattern matching problem involves finding matches of a small fragment of music called the "pattern" into a larger body of music called the "score". We represent music as a series of horizontal line segments in the plane, and reformulate the problem as finding the best translation of a small set of horizontal line segments into a larger set of horizontal line segments. We present an efficient algorithm that can handle general weight models that measure the musical quality of a match of the pattern into the score, allowing for approximate pattern matching. We give an algorithm with running time O(nm(d + log m)), where n is the size of the score, m is the size of the pattern, and d is the size of the discrete set of musical pitches used. Our algorithm compares favourably to previous approaches to the music pattern matching problem. We also demonstrate that this geometric formulation of the music pattern matching problem is unlikely to have a significantly faster algorithm since it is at least as hard as 3SUM, a basic problem that is conjectured to have no subquadratic algorithm. Lastly, we present experiments to show how our algorithm can find musically sensible variations of a theme, as well as polyphonic musical patterns in a polyphonic score

    Composer Recognition based on 2D-Filtered Piano-Rolls

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    Sparse and structured decomposition of audio signals on hybrid dictionaries using musical priors

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    International audienceThis paper investigates the use of musical priors for sparse expansion of audio signals of music, on an overcomplete dual-resolution dictionary taken from the union of two orthonormal bases that can describe both transient and tonal components of a music audio signal. More specifically, chord and metrical structure information are used to build a structured model that takes into account dependencies between coefficients of the decomposition, both for the tonal and for the transient layer. The denoising task application is used to provide a proof of concept of the proposed musical priors. Several configurations of the model are analyzed. Evaluation on monophonic and complex polyphonic excerpts of real music signals shows that the proposed approach provides results whose quality measured by the signal-to-noise ratio is competitive with state-of-the-art approaches, and more coherent with the semantic content of the signal. A detailed analysis of the model in terms of sparsity and in terms of interpretability of the representation is also provided, and shows that the model is capable of giving a relevant and legible representation of Western tonal music audio signals

    The margin and the mainstream : positioning Harry Partch's theories within the broader discourse of musical aesthetics

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    Bibliography: leaves 102-106.The dissertation examines the broader musical value of microtonal composer Harry Partch's musical theories by locating his critique of abstract music within mainstream compositional theory and aesthetics. This contextualisation aims to deconstruct Partch's iconoclastic image so as to understand his contribution within a wider realm of critical discourse. The work of composers that follow in Partch's footsteps becomes important in this context, especially that of his one-time student Ben Johnston whose own microtonal aesthetic is firmly rooted in European aesthetics from Debussy to Schoenberg. By a study of Johnston's utilisation of Partch's theory of just intonation the dissertation attempts to arrive at a more inclusive compositional theory, one which continues to address those aspects of Partch's theories that serve as a valid and constructive critique of traditional musical values. Taking Adorno's view that musical critique must deal with the problem of reification at the level of musical materials, the author proposes a reading of Partch's corporeal philosophy that is applicable beyond the confines of narrative musical drama. By creating a distinction between historical models of organisation and 'second nature' forms of musical presentation, it is suggested that critique does not necessarily prefigure alienation from the mainstream, but can rather be situated within musical discourse in such a way that a new image of the latter's forms results. On a practical level, the dissertation explores the validity of expanded just intonation as a means of achieving this immanent critique, both in the realm of compositional theory and, implicitly, in that of analytical theory, concluding with the description of a tuning system with the capacity to synthesise the range of compositional theories explored

    An exploration of modal, serial, stochastic, electroacoustic and computer aided compositional techniques and their application into a series of original compositions

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    The text is divided into two parts preceded by an introduction. The introduction focuses on some general issues that relate to musical composition: More specifically, it discusses the motivation of a composer and the goals he tries to achieve. The first section of part I focuses on small-scale technical aspects in relation to the music submitted. More specifically, it deals with aspects relating to melody and harmony, counterpoint, timbre, tempo, rhythm and meter. The second section of the first part focuses on large-scale construction elements like the juxtaposition and development of ideas, the role of numbers and proportions on the submitted music as well as on certain aesthetic issues. In this first part, an overview is given of the techniques that were used in order to create the pieces that are included in this PhD. The goal is not to give a detailed analysis of the techniques but to emphasize the ideas that might interest other composers and facilitate them in then: search for their own organisational tools. Consequently, the creation of a 'system' of musical composition is out of the scope of this research. It is also true that there are many aspects of contemporary composition that are not discussed in this text, mainly because of the fact that they were not used in these particular pieces that were submitted with the theoretical part. Part II focuses on the main subject of the PhD, the submitted pieces themselves. It contains information that relates to the program notes as well as the actual scores of the pieces that can be studied together with the available recordings found on the CD. The opening commentaries of the second part include key structural points of the music as well as issues regarding their aesthetic approach. Each submitted piece is an 'amalgamation' of a series of techniques and thoughts on music so that the reader will be able to trace the evolution of thoughts among the different pieces. The works, however, are presented at random rather than in chronological order. This is because they were not written one after the other, but have undergone changes affecting one another up the last completion of the entire project. In this sense they do form a larger 'circle' of musical pieces while the last one, Engraving, which was composed separately at the very end of this 'circle', functions as a 'coda' to the whole project. The Epilogue of the theoretical part deals with personal thoughts regarding future 'musical quests'. The music and the ideas take composers into certain directions regarding future works and professional decisions that relate to the compositional activity as well as to decisions regarding technical and aesthetic issues. These are presented at the end of the text
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