1,551 research outputs found

    AUTOMATIC MUSIC TRANSCRIPTION USING ROW WEIGHTED DECOMPOSITIONS

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    (c) 2013 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other users, including reprinting/ republishing this material for advertising or promotional purposes, creating new collective works for resale or redistribution to servers or lists, or reuse of any copyrighted components of this work in other works. Published in: Proc IEEE International Conference on Acoustics, Speech, and Signal Processing (ICASSP 2013), Vancouver, Canada, 26-31 May 2013. pp. 16-20

    POLYPHONIC PIANO TRANSCRIPTION USING NON-NEGATIVE MATRIX FACTORISATION WITH GROUP SPARSITY

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    (c)2014 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, including reprinting/republishing this material for advertising or promotional purposes, creating new collective works for resale or redistribution to servers or lists, or reuse of any copyrighted components of this work in other works. Published in: Proc IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP 2014), Florence, Italy, 5-9 May 2014. pp.3136-3140

    STRUCTURED SPARSITY FOR AUTOMATIC MUSIC TRANSCRIPTION

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    © 2012 IEEE. Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, in any current or future media, including reprinting/republishing this material for advertising or promotional purposes, creating new collective works, for resale or redistribution to servers or lists, or reuse of any copyrighted component of this work in other works

    Polyphonic piano transcription using non-negative Matrix Factorisation with group sparsity

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    Non-negative Matrix Factorisation (NMF) is a popular tool in musical signal processing. However, problems using this methodology in the context of Automatic Music Transcription (AMT) have been noted resulting in the proposal of supervised and constrained variants of NMF for this purpose. Group sparsity has previously been seen to be effective for AMT when used with stepwise methods. In this paper group sparsity is introduced to supervised NMF decompositions and a dictionary tuning approach to AMT is proposed based upon group sparse NMF using the β-divergence. Experimental results are given showing improved AMT results over the state-of-the-art NMF-based AMT system

    The Case for Irish Modernism: Denis Devlin at the League of Nations and 1930s International Broadcasting

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    Devlin was among the "youngest generation" of Irish poets, modernists such as Thomas MacGreevy and Brian Coffey, in whom a year earlier Samuel Beckett located "the nucleus of a living poetic in Ireland" in his August 1934 essay in The Bookman "Recent Irish Poetry," a blistering attack on the "antiquarians" in the line of the Irish Revival.3 On October 4, two days after Italy invaded Ethiopia, de Valera addressed the nation a day later than scheduled on Radio Athlone (known as 2RN prior to 1933), in which he conceded that all hopes for a League-sponsored resolution to the crisis were now gone. The most striking intervention in this regard is made by Edna Longley in Yeats and Modern Poetry (2013), in which the rap sheet against modernism includes the assertion that its post-hoc "hegemony" only gained currency in the 1960s Anglophone academy, while the emphasis in new modernist studies on a plurality of modernisms instead of a tidy, overarching definition provokes Longley to suggest that modernism is a term of almost meaningless incoherence that critics would be better to jettison.7 Leaving aside the fact that problems of historical, and by definition "posthoc," categorization bedevil any major cultural-aesthetic complex (Longley's preferred substitution, "modern," is an obvious example, with Symbolism and Romanticism also relatively unproblematic terms in her book), the archival traces of 1930s radio wars between latter-day revivalists and modernists challenge Longley's assertions. The "younger generation" and Irish Modernism The background to Devlin's broadcast defending Irish modernism situates it as one intervention within a noisy, variegated cultural conversation which has only belatedly received sustained scholarly attention, a fact that obscures the actual state of play of modernism in 1930s Ireland.8 Longley's skepticism regarding the historical validity of Irish modernism is not an isolated viewpoint. "12 In "Against Irish Modernism: Towards an Analysis of Experimental Irish Poetry," Francis Hutton-Williams seems to concur with Longley in describing the concept of Irish modernism as "industry-driven," a tool blunted through too-capacious application, and in any case belied by what he sees as the failure of modernism to thrive in the conservative clerisy of the Free State.13 While these, and other recent contributions to Irish modernist studies have usefully problematized the binary of modernism versus revivalism/Celticism, Beckett's "Recent Irish Poetry" is isolated as an iconic, lonely declaration of modernist tenets—however complex that declaration is ultimately found to be, or "shorthand" scholarly abuses of it lamented.14 More to the point, critical expansions of modernism share with Longley's arresting dismissal an implicit acknowledgment of modernism's original premise: its meaning, as Jennifer Wicke argued, is "inseparable from its uses and its overdeterminations

    Non-Negative Group Sparsity with Subspace Note Modelling for Polyphonic Transcription

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    This work was supported by EPSRC Platform Grant EPSRC EP/K009559/1, EPSRC Grant EP/L027119/1, and EPSRC Grant EP/J010375/1
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