Drum Transcription via Classification of Bar-level Rhythmic Patterns

acceptedMatthias Mauch is supported by a Royal Academy of Engineering Research Fellowshi

Linking Sheet Music and Audio - Challenges and New Approaches

Score and audio files are the two most important ways to represent, convey, record, store, and experience music. While score describes a piece of music on an abstract level using symbols such as notes, keys, and measures, audio files allow for reproducing a specific acoustic realization of the piece. Each of these representations reflects different facets of music yielding insights into aspects ranging from structural elements (e.g., motives, themes, musical form) to specific performance aspects (e.g., artistic shaping, sound). Therefore, the simultaneous access to score and audio representations is of great importance. In this paper, we address the problem of automatically generating musically relevant linking structures between the various data sources that are available for a given piece of music. In particular, we discuss the task of sheet music-audio synchronization with the aim to link regions in images of scanned scores to musically corresponding sections in an audio recording of the same piece. Such linking structures form the basis for novel interfaces that allow users to access and explore multimodal sources of music within a single framework. As our main contributions, we give an overview of the state-of-the-art for this kind of synchronization task, we present some novel approaches, and indicate future research directions. In particular, we address problems that arise in the presence of structural differences and discuss challenges when applying optical music recognition to complex orchestral scores. Finally, potential applications of the synchronization results are presented

The Use of Silence in Selected Compositions by Frédéric Devreese: A Musical Analysis of Notated and Acoustic Silences

Frédéric Devreese (b. 1929) is a prominent Belgian classical and film composer who has written over 200 musical compositions, including 22 film scores. In this paper, we approach the analysis of four of his compositions, including one film score cue, by examining the presence and absence of silence. The chosen pieces were personally recommended and selected by the composer himself, as being relevant for their usage of silence. Our subject of study is primarily focused on silences that are represented in the score (i.e. rests, phrase marks, staccati, breath marks, etc.). However, a brief comparison with two selected recordings for each score will be made, as part of a comparative analysis. Two new musicological tools are presented and tested in this study, namely: Barcode of Synchronized Rests (BSR), and Barcode of the Silent Waveform (BSW). Consequently, a better understanding of the analysed compositions is achieved, and an analytical method for studying functions of silence is suggested, opening horizons to future silence-based musicological studies

The Use of Silence in Selected Compositions by Frédéric Devreese: A Musical Analysis of Notated and Acoustic Silences

[EN]Frédéric Devreese (b. 1929) is a prominent Belgian classical and film composer who has written over 200 musical compositions, including 22 film scores. In this paper, we approach the analysis of four of his compositions, including one film score cue, by examining the presence and absence of silence. The chosen pieces were personally recommended and selected by the composer himself, as being relevant for their usage of silence. Our subject of study is primarily focused on silences that are represented in the score (i.e. rests, phrase marks, staccati, breath marks, etc.). However, a brief comparison with two selected recordings for each score will be made, as part of a comparative analysis. Two new musicological tools are presented and tested in this study, namely: Barcode of Synchronized Rests (BSR), and Barcode of the Silent Waveform (BSW). Consequently, a better understanding of the analysed compositions is achieved, and an analytical method for studying functions of silence is suggested, opening horizons to future silence-based musicological studies