Computational methods for percussion music analysis : the afro-uruguayan candombe drumming as a case study

Most of the research conducted on information technologies applied to music has been largely limited to a few mainstream styles of the so-called `Western' music. The resulting tools often do not generalize properly or cannot be easily extended to other music traditions. So, culture-specific approaches have been recently proposed as a way to build richer and more general computational models for music. This thesis work aims at contributing to the computer-aided study of rhythm, with the focus on percussion music and in the search of appropriate solutions from a culture specifc perspective by considering the Afro-Uruguayan candombe drumming as a case study. This is mainly motivated by its challenging rhythmic characteristics, troublesome for most of the existing analysis methods. In this way, it attempts to push ahead the boundaries of current music technologies. The thesis o ers an overview of the historical, social and cultural context in which candombe drumming is embedded, along with a description of the rhythm. One of the specific contributions of the thesis is the creation of annotated datasets of candombe drumming suitable for computational rhythm analysis. Performances were purposely recorded, and received annotations of metrical information, location of onsets, and sections. A dataset of annotated recordings for beat and downbeat tracking was publicly released, and an audio-visual dataset of performances was obtained, which serves both documentary and research purposes. Part of the dissertation focused on the discovery and analysis of rhythmic patterns from audio recordings. A representation in the form of a map of rhythmic patterns based on spectral features was devised. The type of analyses that can be conducted with the proposed methods is illustrated with some experiments. The dissertation also systematically approached (to the best of our knowledge, for the first time) the study and characterization of the micro-rhythmical properties of candombe drumming. The ndings suggest that micro-timing is a structural component of the rhythm, producing a sort of characteristic "swing". The rest of the dissertation was devoted to the automatic inference and tracking of the metric structure from audio recordings. A supervised Bayesian scheme for rhythmic pattern tracking was proposed, of which a software implementation was publicly released. The results give additional evidence of the generalizability of the Bayesian approach to complex rhythms from diferent music traditions. Finally, the downbeat detection task was formulated as a data compression problem. This resulted in a novel method that proved to be e ective for a large part of the dataset and opens up some interesting threads for future research.La mayoría de la investigación realizada en tecnologías de la información aplicadas a la música se ha limitado en gran medida a algunos estilos particulares de la así llamada música `occidental'. Las herramientas resultantes a menudo no generalizan adecuadamente o no se pueden extender fácilmente a otras tradiciones musicales. Por lo tanto, recientemente se han propuesto enfoques culturalmente específicos como forma de construir modelos computacionales más ricos y más generales. Esta tesis tiene como objetivo contribuir al estudio del ritmo asistido por computadora, desde una perspectiva cultural específica, considerando el candombe Afro-Uruguayo como caso de estudio. Esto está motivado principalmente por sus características rítmicas, problemáticas para la mayoría de los métodos de análisis existentes. Así , intenta superar los límites actuales de estas tecnologías. La tesis ofrece una visión general del contexto histórico, social y cultural en el que el candombe está integrado, junto con una descripción de su ritmo. Una de las contribuciones específicas de la tesis es la creación de conjuntos de datos adecuados para el análisis computacional del ritmo. Se llevaron adelante sesiones de grabación y se generaron anotaciones de información métrica, ubicación de eventos y secciones. Se disponibilizó públicamente un conjunto de grabaciones anotadas para el seguimiento de pulso e inicio de compás, y se generó un registro audiovisual que sirve tanto para fines documentales como de investigación. Parte de la tesis se centró en descubrir y analizar patrones rítmicos a partir de grabaciones de audio. Se diseñó una representación en forma de mapa de patrones rítmicos basada en características espectrales. El tipo de análisis que se puede realizar con los métodos propuestos se ilustra con algunos experimentos. La tesis también abordó de forma sistemática (y por primera vez) el estudio y la caracterización de las propiedades micro rítmicas del candombe. Los resultados sugieren que las micro desviaciones temporales son un componente estructural del ritmo, dando lugar a una especie de "swing" característico. El resto de la tesis se dedicó a la inferencia automática de la estructura métrica a partir de grabaciones de audio. Se propuso un esquema Bayesiano supervisado para el seguimiento de patrones rítmicos, del cual se disponibilizó públicamente una implementación de software. Los resultados dan evidencia adicional de la capacidad de generalización del enfoque Bayesiano a ritmos complejos. Por último, la detección de inicio de compás se formuló como un problema de compresión de datos. Esto resultó en un método novedoso que demostró ser efectivo para una buena parte de los datos y abre varias líneas de investigación

CARAT : computer-aided rhythmic analysis toolbox

CARAT is a toolbox for computer-aided rhythm analysis from audio recordings that includes a set of ready-to-use tools in order to ease the adoption of computational tools by musicologists, while at the same time making readily available to MIR researchers some recently developed techniques for rhythm analysis, along with musical examples of their applicability. Pieces from three different corpora of music from the Afro-Atlantic tradition were taken as case studies for rhythmic pattern analysis

Aesthetics of musical timing : Culture and expertise affect preferences for isochrony but not synchrony

Este es un artículo de acceso abierto bajo la licencia CC BY.Expressive communication in the arts often involves deviations from stylistic norms, which can increase the aesthetic evaluation of an artwork or performance. The detection and appreciation of such expressive deviations may be amplified by cultural familiarity and expertise of the observer. One form of expressive communication in music is playing “out of time,” including asynchrony (deviations from synchrony between different instruments) and non-isochrony (deviations from equal spacing between subsequent note onsets or metric units). As previous research has provided somewhat conflicting perspectives on the degree to which deviations from synchrony and isochrony are aesthetically relevant, we aimed to shed new light on this topic by accounting for the effects of listeners' cultural familiarity and expertise. We manipulated (a)synchrony and (non-)isochrony separately in excerpts from three groove-based musical styles (jazz, candombe, and jembe), using timings from real performances. We recruited musician and non-musician participants (N = 176) from three countries (UK, Uruguay, and Mali), selected to vary in their prior experience of hearing and performing these three styles. Participants completed both an aesthetic preference rating task and a perceptual discrimination task for the stimuli. Our results indicate an overall preference toward synchrony in these styles, but culturally contingent, expertise-dependent preferences for deviations from isochrony. This suggests that temporal processing relies on mechanisms that vary in their dependence on low-level and high-level perception, and emphasizes the role of cultural familiarity and expertise in shaping aesthetic preferences

Análisis de interpretaciones de tango usando herramientas computacionales : El estilo de ejecución de Aníbal Troilo interpretando Mi refugio

Los estilos de ejecución históricos en el tango como construcción socio-cultural dan origen a la elaboración del canon del estilo musical que hoy conocemos. En dicha tradición estilística Aníbal Troilo es una de las figuras relevantes. En este trabajo analizamos modos de enunciación temporal de Troilo con el fin de encontrar indicadores de la construcción de los patrones témporo-expresivos de su estilo. Para ello comparamos distintas interpretaciones del tango Mi Refugio aplicando herramientas computacionales sobre anotaciones manuales del beat. Calculamos curvas de tempo y las comparamos a través de un análisis de correlación y mediante regresión polinómica. Las comparaciones entre diferentes versiones fueron interpretadas mediante el análisis hermenéutico-musical. Los resultados indican un uso consistente de patrones de regulación temporal en el fraseo de Troilo a diferentes niveles expresivo-estructurales, más allá de las variaciones en la superficie musical de los arreglos. Además, se identificó un recurso de aceleración-desaceleración con fines articulatorios en la comunicación de la forma.The historical performing styles in tango as a socio‐cultural construction give rise to the elaboration of the canon of the musical style that we know today. In this stylistic tradition, Aníbal Troilo is one of the relevant figures. In this work we analyze Troilo’s modes of temporal enunciation in order to find indicators of the construction of the temporal‐expressive patterns of his style. To do this we compare different interpretations of the tango Mi Refugio applying computer tools on manual beat annotations. We calculate tempo curves and compare them through correlation analysis and polynomial regression. Comparisons between different versions are interpreted through hermeneutical‐musical analysis. The results indicate a consistent use of temporal regulation patterns in Troilo’s phrasing at different expressive‐structural levels, beyond the variations in the musical surface of the arrangements. In addition, an increaseing‐decreacing resource was identified for articulatory purposes in the communication of the form

Tracking beats and microtiming in Afro-Latin American music using conditional random fields and deep learning

Trabajo presentado en ISMIR 2019 : 20th Conference of the International Society for Music Information Retrieval, Delft, Netherlands, 4-8 nov, 2019PostprintEvents in music frequently exhibit small-scale temporal deviations (microtiming), with respect to the underlying regular metrical grid. In some cases, as in music from the Afro-Latin American tradition, such deviations appear systematically, disclosing their structural importance in rhythmic and stylistic configuration. In this work we explore the idea of automatically and jointly tracking beats and microtiming in timekeeper instruments of Afro-Latin American music, in particular Brazilian samba and Uruguayan candombe. To that end, we propose a language model based on conditional random fields that integrates beat and onset likelihoods as observations. We derive those activations using deep neural networks and evaluate its performance on manually annotated data using a scheme adapted to this task. We assess our approach in controlled conditions suitable for these timekeeper instruments, and study the microtiming profiles’ dependency on genre and performer, illustrating promising aspects of this technique towards a more comprehensive understanding of these music traditions

The Interpersonal Entrainment in Music Performance Data Collection

The Interpersonal Entrainment in Music Performance Data Collection (IEMPDC) comprises six related corpora of music research materials: Cuban Son & Salsa (CSS), European String Quartet (ESQ), Malian Jembe (MJ), North Indian Raga (NIR), Tunisian Stambeli (TS), and Uruguayan Candombe (UC). The core data for each corpus comprises media files and computationally extracted event onset timing data. Annotation of metrical structure and code used in the preparation of the collection is also shared. The collection is unprecedented in size and level of detail and represents a significant new resource for empirical and computational research in music. In this article we introduce the main features of the data collection and the methods used in its preparation. Details of technical validation procedures and notes on data visualization are available as Appendices. We also contextualize the collection in relation to developments in Open Science and Open Data, discussing important distinctions between the two related concepts

CD Maps-Dynamic Profiling of CD1-CD100 Surface Expression on Human Leukocyte and Lymphocyte Subsets

CD molecules are surface molecules expressed on cells of the immune system that play key roles in immune cell-cell communication and sensing the microenvironment. These molecules are essential markers for the identification and isolation of leukocytes and lymphocyte subsets. Here, we present the results of the first phase of the CD Maps study, mapping the expression of CD1-CD100 (n = 110) on 47 immune cell subsets from blood, thymus, and tonsil using an eight-color standardized EuroFlow approach and quantification of expression. The resulting dataset included median antibody binding capacities (ABCs) and percentage of positivity for all markers on all subsets and was developed into an interactive CD Maps web resource. Using the resource, we examined differentially expressed proteins between granulocyte, monocyte, and dendritic cell subsets, and profiled dynamic expression of markers during thymocyte differentiation, T-cell maturation, and between functionally distinct B-cell subset clusters. The CD Maps resource will serve as a benchmark of antibody reactivities ensuring improved reproducibility of flow cytometry-based research. Moreover, it will provide a full picture of the surfaceome of human immune cells and serves as a useful platform to increase our understanding of leukocyte biology, as well as to facilitate the identification of new biomarkers and therapeutic targets of immunological and hematological diseases