BLUES from Music: BLind Underdetermined Extraction of Sources from Music

In this paper we propose to use an instantaneous ICA method (BLUES) to separate the instruments in a real music stereo recording. We combine two strong separation techniques to segregate instruments from a mixture: ICA and binary time-frequency masking. By combining the methods, we are able to make use of the fact that the sources are differently distributed in both space, time and frequency. Our method is able to segregate an arbitrary number of instruments and the segregated sources are maintained as stereo signals. We have evaluated our method on real stereo recordings, and we can segregate instruments which are spatially different from other instruments

Abstract sounds and their applications in audio and perception research

International audienceRecognition of sound sources and events is an important pro- cess in sound perception and has been studied in many research domains. Conversely sounds that cannot be recognized are not often studied except by electroacoustic music composers. Besides, considerations on recogni- tion of sources might help to address the problem of stimulus selection and categorization of sounds in the context of perception research. This paper introduces what we call abstract sounds with the existing musical background and shows their relevance for different applications

Sonic diaspora, vibrations and rhythm: thinking through the sounding of the Jamaican dancehall session

The propagation of vibrations may provide a better way of understanding diasporic spread than the conventional focus on the circulation of products (Hall 1980, Appadurai 1986, 1996, Gilroy 1993a, Brah 1996). Jamaican sound systems operate as a broadcast medium and a source of CDs, DVDs and other commercial products (Henriques 2007a). But the dancehall sound system session also propagates a broad spectrum of frequencies diffused through a range of media and activities - described as “sounding” (following Small’s 1998 concept of “musicking”). These include the material vibrations of the signature low-pitched auditory frequencies of Reggae as a bass culture (Johnson 1980), at the loudness of “sonic dominance” (Henriques 2003). Secondly a session propagates the corporeal vibrations of rituals, dance routines and bass-line “riddims” (Veal 2007). Thirdly it propagates the ethereal vibrations (Henriques 2007b), “vibes” or atmosphere of the sexually charged popular subculture by which the crowd (audience) appreciate each dancehall session as part of the Dancehall scene (Cooper 2004). The paper concludes that thinking though vibrating frequencies makes it easier to appreciate how audiences with no direct or inherited connection with a particular music genre can be energetically infected and affected - to form a sonic diaspora

Real-time Analysis of Sensory Dissonance

We describe a tool for real-time musical analysis based on a measure of roughness, the principal element of sensory dissonance. While most historical musical analysis is based on the notated score, our tool permits analysis of a recorded or live audio signal in its full complexity. We proceed from the work of Richard Parncutt and Ernst Terhardt, extending their algorithms for the psychoacoustic analysis of harmony to be used for the live analysis of spectral data. This allows for the study of a wider variety of timbrally-rich acoustic or electronic sounds which was not possible with previous algorithms. Further, the direct treatment of audio signal facilitates a wide range of analytical applications, from the comparison of multiple recordings of the same musical work to the real-time analysis of a live performance. Our algorithm is programmed in C as an external object for the program Max/MSP. Taking musical examples by Arnold Schoenberg, Gérard Grisey and Iannis Xenakis, our algorithm yields varying roughness estimates depending on instrumental orchestration or electronic texture, confirming our intuitive understanding that timbre affects sensory dissonance. This is one of the many possibilities this tool presents for analysis and composition of music that is timbrally-dynamic and microtonally-complex

Figures auditives ambigües: Compétition entre le groupement séquentiel par une hauteur et une localisation de source comune et le groupement simultané par une fréquence fondamentale et/ou structure temporelle commune

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