Recognition of Harmonic Sounds in Polyphonic Audio using a Missing Feature Approach: Extended Report

A method based on local spectral features and missing feature techniques is proposed for the recognition of harmonic sounds in mixture signals. A mask estimation algorithm is proposed for identifying spectral regions that contain reliable information for each sound source and then bounded marginalization is employed to treat the feature vector elements that are determined as unreliable. The proposed method is tested on musical instrument sounds due to the extensive availability of data but it can be applied on other sounds (i.e. animal sounds, environmental sounds), whenever these are harmonic. In simulations the proposed method clearly outperformed a baseline method for mixture signals

Constant-Q Transform Toolbox for Music Processing

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Automatic Bass Line Transcription from Streaming Polyphonic Audio

This paper proposes a method for the automatic transcription of the bass line in polyphonic music. The method uses a multiple-F0 estimator as a front-end and this is followed by acoustic and musicological models. The acoustic modeling consists of separate models for bass notes and rests. The musicological model estimates the key and determines probabilities for the transitions between notes using a conventional bigram or a variable-order Markov model. The transcription is obtained with Viterbi decoding through the note and rest models. In addition, a causal algorithm is presented which allows transcription of streaming audio. The method was evaluated using 87 minutes of music from the RWC Popular Music Database. Recall and precision rates of 64 % and 60%, respectively, were achieved for discrete note events

Automatic music transcription: challenges and future directions

Automatic music transcription is considered by many to be a key enabling technology in music signal processing. However, the performance of transcription systems is still significantly below that of a human expert, and accuracies reported in recent years seem to have reached a limit, although the field is still very active. In this paper we analyse limitations of current methods and identify promising directions for future research. Current transcription methods use general purpose models which are unable to capture the rich diversity found in music signals. One way to overcome the limited performance of transcription systems is to tailor algorithms to specific use-cases. Semi-automatic approaches are another way of achieving a more reliable transcription. Also, the wealth of musical scores and corresponding audio data now available are a rich potential source of training data, via forced alignment of audio to scores, but large scale utilisation of such data has yet to be attempted. Other promising approaches include the integration of information from multiple algorithms and different musical aspects

Conventional and periodic N-grams in the transcription of drum sequences

In this paper, we describe a system for transcribing polyphonic drum sequences from an acoustic signal to a symbolic representation. Low-level signal analysis is done with an acoustic model consisting of a Gaussian mixture model and a support vector machine. For higher-level modeling, periodic N-grams are proposed to construct a "language model" for music, based on the repetitive nature of musical structure. Also, a technique for estimating relatively long N-grams is introduced. The performance of N-grams in the transcription was evaluated using a database of realistic drum sequences from different genres and yielded a performance increase of 7.6 % compared to a the use of only prior (unigram) probabilities with the acoustic model

Automatic Transcription Of Music

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Analysis of musical instrument sounds by source–filter–decay model

This paper proposes a way of modelling the time-varying spectral energy distribution of musical instrument sounds. The model consists of an excitation signal, a body response filter, and a loss filter which implements a frequency-dependent decay. The three parts are further represented with a linear model which allows controlling the number of parameters involved. A method is proposed for estimating all the model parameters jointly, taking into account additive noise. The method is evaluated by measuring its accuracy in representing 33 musical instruments and by testing its usefulness in extracting the melodic line of one instrument from a polyphonic audio signal. Index Terms — Music, modeling, least square methods, Viterbi decoding