The Single Hidden Layer Neural Network Based Classifier for Han

Total Page:16

File Type:pdf, Size:1020Kb

The Single Hidden Layer Neural Network Based Classifier for Han The Single Hidden Layer Neural Network Based Classifiers for Han Chinese Folk Songs Sui Sin Khoo A thesis submitted in fulfilment of the requirements for the Doctor of Philosophy at Faculty of Engineering and Industrial Sciences Swinburne University of Technology Australia 2013 This page is intentionally left blank. Abstract This thesis investigates the application of a few powerful machine learning techniques in music classification using a symbolic database of folk songs: The Essen Folksong Collection. Firstly, a meaningful and representative set of theory-based method of encoding Chinese folk songs, called the musical feature density map (MFDMap) is developed to enable efficient classification by machines. This encoding method effectively encapsulates useful musical information that is readable by the machines and at the same time can be easily interpreted by humans. This encoding will aid ethnomusicologists in future folk song research. The extreme learning machine (ELM), an extremely fast machine learning algorithm that utilizes the structure of the single-hidden layer feedforward neural networks (SLFNs) is employed as the machine classifier. This algorithm is capable of performing at a very fast speed and has good generalization performance. The application of the ELM classifier and its enhanced variant called the regularized extreme learning machine (R-ELM), in real-world multi-class folk song classification is examined in this thesis. The effectiveness of the MFDMap encoding technique combining with the ELM classifiers for multi-class folk song classification is verified. The finite impulse response extreme learning machine (FIR-ELM) is a relatively new learning algorithm. It is a powerful algorithm in the sense that its robustness is reflected in the design of the input weights and the output weights. This algorithm can effectively remove input disturbances and undesired frequency components in the input data. The capability of the FIR-ELM in solving complex real-world multi-class classification is examined in this thesis. The MFDMap performed more effectively with i the FIR-ELM. The classification accuracy using the FIR-ELM is significantly better than both the ELM and the R-ELM. The techniques of folk song classification proposed in this thesis are further investigated on a different data samples. These techniques are also applied to the European folk songs, a culture that is very different from the Chinese culture, to investigate the flexibility of the learning machines. In addition, the roles and relationships of four music elements: solfege, interval, duration and duration ratio are investigated. ii Acknowledgement I would like to express my gratitude to my supervisor, Professor Zhihong Man, who has given me both guidance and courage to pursue the work in this thesis. A special thank for his patience to my slow responses and his advices that lead me along the path. I would also like to express my utmost gratefulness to my parents for their loving and constant support, interest and encouragement that lead me up to this point in my life. I would love to express my deepest appreciation to my dearest brother who leads me and inspired me along my way. A sweet thank to Aiji, Kevin, Fei Siang, Hai, and Tuan Do for all the laughter and companies I received during my years of research in Swinburne. iii This page is intentionally left blank. Declaration This is to certify that: 1. This thesis contains no material which has been accepted for the award to the candidate of any other degree or diploma, except where due reference is made in the text of the examinable outcome. 2. To the best of the candidate’s knowledge, this thesis contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome. 3. The work is based on the joint research and publications; the relative contributions of the respective authors are disclosed. ________________________ Sui Sin Khoo, 2013 v This page is intentionally left blank. Table of Contents Table of Contents ABSTRACT......................................................................................................................i ACKNOWLEDGEMENT.............................................................................................iii LIST OF FIGURES .......................................................................................................xi LIST OF TABLES .......................................................................................................xiii LIST OF ACRONYMS ...............................................................................................xix 1. INTRODUCTION.......................................................................................................1 1.1 Motivation...............................................................................................................1 1.2 Contribution ............................................................................................................3 1.3 Organization of the Thesis ......................................................................................4 2. LITERATURE REVIEW...........................................................................................7 2.1 Artificial Neural Network .......................................................................................7 2.1.1 McCulloch-Pitts Threshold Processing Unit.............................................8 2.1.2 Rosenblatt’s Perceptron ............................................................................9 2.1.3 Multi-Layer Perceptron...........................................................................11 2.1.4 Learning Algorithms ...............................................................................13 2.1.5 Extreme Learning Machine.....................................................................16 2.2 Music Representations ..........................................................................................20 2.2.1 Audio Format ..........................................................................................21 2.2.2 Symbolic Format.....................................................................................32 2.3 Discussion .............................................................................................................41 3. MUSIC REPRESENTATION AND THE MUSICAL FEATURE DENSITY MAP ..........................................................................................................................43 3.1 Ethnomusicology Background on Geographical Based Han Chinese Folk Song Classification...............................................................................................................44 vii Table of Contents 3.1.1 Rationale for the Choice of the Five Classes ..........................................49 3.2 Music Data Set – The Essen Folksong Collection................................................51 3.2.1 The **Kern Representation ....................................................................52 3.2.2 An Example of Han Chinese Folk Song in **Kern Format ...................53 3.2.3 Assumptions in **Kern Version of the Essen Folksong Collection.......59 3.3 Music Elements and Encoding..............................................................................60 3.3.1 Pitch Elements.........................................................................................61 3.3.2 Duration Elements...................................................................................66 3.4 The Musical Feature Density Map........................................................................72 3.4.1 Advantage of the Musical Feature Density Map ....................................79 3.4.2 Future Enhancement to the Musical Feature Density Map.....................92 4. THE EXTREME LEARNING MACHINE FOLK SONG CLASSIFIER..........93 4.1 Introduction...........................................................................................................94 4.2 Extreme Learning Machine...................................................................................95 4.3 Regularized Extreme Learning Machine ..............................................................98 4.4 Experiment Design and Setting ..........................................................................100 4.4.1 Data Pre-Processing and Post-Processing.............................................100 4.4.2 Parameter Setting ..................................................................................109 4.5 Experiment Results .............................................................................................110 4.6 Discussion ...........................................................................................................122 4.7 Conclusion ..........................................................................................................125 5. THE FINITE IMPULSE RESPONSE EXTREME LEARNING MACHINE FOLK SONG CLASSIFIER...................................................................................127 5.1 Introduction.........................................................................................................127 5.2 Finite Impulse Response Extreme Learning Machine ........................................129 5.3 Experiment Design and Setting ..........................................................................135 5.3.1 Data Pre-Processing and Post-Processing.............................................136 5.3.2 Parameter Setting
Recommended publications
  • Improving Optical Music Recognition by Combining Outputs from Multiple Sources
    IMPROVING OPTICAL MUSIC RECOGNITION BY COMBINING OUTPUTS FROM MULTIPLE SOURCES Victor Padilla Alex McLean Alan Marsden Kia Ng Lancaster University University of Leeds Lancaster University University of Leeds victor.padilla. a.mclean@ a.marsden@ k.c.ng@ [email protected] leeds.ac.uk lancaster.ac.uk leeds.ac.uk ABSTRACT in the Lilypond format, claims to contain 1904 pieces though some of these also are not full pieces. The Current software for Optical Music Recognition (OMR) Musescore collection of scores in MusicXML gives no produces outputs with too many errors that render it an figures of its contents, but it is not clearly organised and unrealistic option for the production of a large corpus of cursory browsing shows that a significant proportion of symbolic music files. In this paper, we propose a system the material is not useful for musical scholarship. MIDI which applies image pre-processing techniques to scans data is available in larger quantities but usually of uncer- of scores and combines the outputs of different commer- tain provenance and reliability. cial OMR programs when applied to images of different The creation of accurate files in symbolic formats such scores of the same piece of music. As a result of this pro- as MusicXML [11] is time-consuming (though we have cedure, the combined output has around 50% fewer errors not been able to find any firm data on how time- when compared to the output of any one OMR program. consuming). One potential solution to this is to use Opti- Image pre-processing splits scores into separate move- cal Music Recognition (OMR) software to generate sym- ments and sections and removes ossia staves which con- bolic data such as MusicXML from score images.
    [Show full text]
  • Lilypond Music Glossary
    LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players.
    [Show full text]
  • Musical Notation Codes Index
    Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20.
    [Show full text]
  • Using Smartscore 2.Pdf
    Using SmartScore Scanning Music Be sure you have the necessary scanner drivers installed before attempting to scan from inside SmartScore. Most scanners come with software that enable programs such as SmartScore to control them. TWAIN drivers and/or Mac plug-ins are normally included in the software packaged with most scanners. It may be necessary for certain Mac users to perform a “Custom > TWAIN” installation from the CD accompanying your scan- ner; depending on the manufacturer. NOTE: Scanner drivers are often updated by scanner manufacturers and posted on their web sites. If problems occur during scanning, it is always a good idea to check the Internet for updated scanner drivers before calling Musitek Technical Support. Mac Users: Skip the next section. Turn to “Scanning in Macintosh” on page 6. Scanning in Windows: Using the SmartScore Scanning Interface a. Push the Scan button in the Navigator or in the Main Toolbar. Figure 1: Scan Button b. If there is no response, go to File > Scan Music > Select Scanner and choose appropriate TWAIN driver. If you do not see anything listed in the Select Scanner window, your drivers are probably not installed. Install or replace TWAIN driver from scanner CD or from “Driver Download” area of scanner manufacturer’s website. c. If the scanner still does not operate properly, go to “Choosing an alternative scanning interface” on page 5. USING SmartScore 1 Help > Using SmartScore Your scanner should immediately begin to operate with Scan or Acquire. A low-resolution pre-scan should soon appear in the Preview window. FIGURE 2: SmartScore scanning interface d.
    [Show full text]
  • Lilypond Music Glossary
    LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.21.82. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2020 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.21.82 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players.
    [Show full text]
  • Non-Isochronous Meter: a Study of Cross-Cultural Practices, Analytic Technique, and Implications for Jazz Pedagogy
    NON-ISOCHRONOUS METER: A STUDY OF CROSS-CULTURAL PRACTICES, ANALYTIC TECHNIQUE, AND IMPLICATIONS FOR JAZZ PEDAGOGY JORDAN P. SAULL A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO December 2014 © Jordan Saull, 2014 ABSTRACT This dissertation examines the use of non-isochronous (NI) meters in jazz compositional and performative practices (meters as comprised of cycles of a prime number [e.g., 5, 7, 11] or uneven divisions of non-prime cycles [e.g., 9 divided as 2+2+2+3]). The explorative meter practices of jazz, while constituting a central role in the construction of its own identity, remains curiously absent from jazz scholarship. The conjunct research broadly examines NI meters and the various processes/strategies and systems utilized in historical and current jazz composition and performance practices. While a considerable amount of NI meter composers have advertantly drawn from the metric practices of non-Western music traditions, the potential for utilizing insights gleaned from contemporary music-theoretical discussions of meter have yet to fully emerge as a complimentary and/or organizational schemata within jazz pedagogy and discourse. This paper seeks to address this divide, but not before an accurate picture of historical meter practice is assessed, largely as a means for contextualizing developments within historical and contemporary practice and discourse. The dissertation presents a chronology of explorative meter developments in jazz, firstly, by tracing compositional output, and secondly, by establishing the relevant sources within conjunct periods of development i.e., scholarly works, relative academic developments, and tractable world music sources.
    [Show full text]
  • Improved Optical Music Recognition (OMR)
    Improved Optical Music Recognition (OMR) Justin Greet Stanford University [email protected] Abstract same index in S. Observe that the order of the notes is implicitly mea- This project focuses on identifying and ordering the sured. Any note missing from the output, out of place, or notes and rests in a given measure of sheet music using a erroneously added heavily penalizes the percentage. More novel approach involving a Convolutional Neural Network qualitatively, we can render the output of the algorithm as (CNN). Past efforts in the field of Optical Music Recogni- sheet music and visually check how it compares to the input tion (OMR) have not taken advantage of neural networks. measure. The best architecture we developed involves feeding pro- Multiple commercial OMR products exist and their ef- posals of regions containing notes or rests to a CNN then fectiveness has been studied to be imperfect enough to pre- removing conflicts in regions identifying the same symbol. clude many practical applications [4, 20]. We run the test We compare our results with a commercial OMR product images through one of them (SmartScore [12]) and use the and achieve similar results. evaluation criteria described above to serve as a benchmark for the proposed algorithm. 1. Introduction 2. Related Work Optical Music Recognition (OMR) is the problem of The topic of OMR is heavily researched. The research converting a scanned image of sheet music into a symbolic can be broadly broken up into three categories: evaluation representation like MusicXML [9] or MIDI. There are many of existing methods, discovery of novel solutions for spe- obvious practical applications for such a solution, such as cific parts of OMR, and classical approaches to OMR.
    [Show full text]
  • Efficient Optical Music Recognition Validation Using MIDI Sequence Data by Janelle C
    Efficient Optical Music Recognition Validation using MIDI Sequence Data by Janelle C. Sands Submitted to the Department of Electrical Engineering and Computer Science in partial fulfillment of the requirements for the degree of Master of Engineering in Electrical Engineering and Computer Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY May 2020 ○c Massachusetts Institute of Technology 2020. All rights reserved. Author................................................................ Department of Electrical Engineering and Computer Science May 12, 2020 Certified by. Michael Scott Cuthbert Associate Professor Thesis Supervisor Accepted by . Katrina LaCurts Chair, Master of Engineering Thesis Committee ii Efficient Optical Music Recognition Validation using MIDI Sequence Data by Janelle C. Sands Submitted to the Department of Electrical Engineering and Computer Science on May 12, 2020, in partial fulfillment of the requirements for the degree of Master of Engineering in Electrical Engineering and Computer Science Abstract Despite advances in optical music recognition (OMR), resultant scores are rarely error-free. The power of these OMR systems to automatically generate searchable and editable digital representations of physical sheet music is lost in the tedious manual effort required to pinpoint and correct these errors post-OMR, or evento just confirm no errors exist. To streamline post-OMR error correction, I developeda corrector to automatically identify discrepancies between resultant OMR scores and corresponding Musical Instrument Digital Interface (MIDI) scores and then either automatically fix errors, or in ambiguous cases, notify the user to manually fix errors. This tool will be open source, so anyone can contribute to further improving the accuracy of OMR tools and expanding the amount of trusted digitized music. Thesis Supervisor: Michael Scott Cuthbert Title: Associate Professor iii iv Acknowledgments Thank you to my advisor, Professor Cuthbert, for sharing your enthusiasm, expertise, and encouragement throughout this project.
    [Show full text]
  • Abcdefghijklmnopqrstuvwxyz
    www.classclef.com Page 1 ABCDEFGHIJKLMNOPQRSTUVWXYZ (Abbreviations: I = Italian, L = Latin, F = French, G = German, lit. = literally) A A B form See two-part form. A B A form See three-part form. Aber (G) But Absolute Music Instrumental music having no intended association with a story, poem, idea, or scene; nonprogram music. A capella (I) Choral music without instrumental accompaniment. Accelerando (I) Becoming Faster. Accent Emphasis of a note, which may result from its being louder (dynamic accent), longer, or higher in pitch than the notes near it. Accompanied recitative Speech-like melody that is sung by a solo voice accompanied by the orchestra. Accordion Instrument consisting of a bellows between two keyboards (piano like keys played by the right hand, and buttons played by the left hand) whose sound is produced by air pressure which causes free steel reeds to vibrate. Adadietto (I) Rather slow, but faster than adagio Adagio (I) Slow (lit. ‘at ease’), generally held to indicate a tempo between andante and largo. A deux (F) For two performers or instruments (in orchestral or band music, it means that a part is to be played in unison by two instruments) Ad libitum, ad lib. (L) At choice, meaning either that a passage may be performed freely or that an instrument in a score may be omitted. Aerophone Any instrument-such as a flute or trumpet-whose sound is generated by a vibrating column of air. Affettuoso (I) Tenderly Affrettando, affret. (I) Hurrying Agitato (I) Agitated Al, alla (I) To the, in the manner of Allargando (I) Broadening, i.e.
    [Show full text]
  • Understanding Optical Music Recognition
    1 Understanding Optical Music Recognition Jorge Calvo-Zaragoza*, University of Alicante Jan Hajicˇ Jr.*, Charles University Alexander Pacha*, TU Wien Abstract For over 50 years, researchers have been trying to teach computers to read music notation, referred to as Optical Music Recognition (OMR). However, this field is still difficult to access for new researchers, especially those without a significant musical background: few introductory materials are available, and furthermore the field has struggled with defining itself and building a shared terminology. In this tutorial, we address these shortcomings by (1) providing a robust definition of OMR and its relationship to related fields, (2) analyzing how OMR inverts the music encoding process to recover the musical notation and the musical semantics from documents, (3) proposing a taxonomy of OMR, with most notably a novel taxonomy of applications. Additionally, we discuss how deep learning affects modern OMR research, as opposed to the traditional pipeline. Based on this work, the reader should be able to attain a basic understanding of OMR: its objectives, its inherent structure, its relationship to other fields, the state of the art, and the research opportunities it affords. Index Terms Optical Music Recognition, Music Notation, Music Scores I. INTRODUCTION Music notation refers to a group of writing systems with which a wide range of music can be visually encoded so that musicians can later perform it. In this way, it is an essential tool for preserving a musical composition, facilitating permanence of the otherwise ephemeral phenomenon of music. In a broad, intuitive sense, it works in the same way that written text may serve as a precursor for speech.
    [Show full text]
  • Finale Songwriter Free Download Mac
    Finale songwriter free download mac Download Finale Notepad for free and get started composing, arranging and printing your own sheet music today. Download a free trial of Finale 25, the latest release, and experience MakeMusic's professional music notation software for 30 days. With SongWriter music notation software, you can listen to the results before the rehearsal. When you can hear what you've written you can. With SongWriter music notation software, you can listen to the results before the rehearsal. When you can hear what you've written you can quickly refine your. Finale for Mac, free and safe download. Finale latest version: Professional music composition software. If you're looking for the most professional music. Finale Songwriter , Commercial Software, App, Download Finale Songwriter Download Update. Mac Universal Binary, Finale Songwriter products supported on Mac OS X Finale , , Finale , Free Finale SongWriter Download,Finale SongWriter is Its. Shop for the Makemusic Finale SongWriter Software Download in and receive free shipping and guaranteed lowest OS X (Mac-Intel or Power PC). Search the Finale download library for updates, documentation, free trial versions and more. Download free Finale SongWriter for Mac, free Finale SongWriter download for Mac OS X. Finale SongWriter (Electronic Software Delivery) Please Note: Once the order print, and make minor edits with the free, downloadable Finale NotePad®. Finale Free Download. Finale Songwriter download for Mac. Finale songwriter keygen downloadanyfiles com. Download Finale Songwriter by MakeMusic. Finale for Mac, free and safe download. Finale latest version: In questo video vi spiegherò come installare Finale SongWriter sul vostro pc Finale SongWriter.
    [Show full text]
  • The Planets (2014)
    The Planets 2014 Youth Concert Teacher Resource Materials Ann Arbor Symphony Orchestra Music in the Key of A2® Acknowledgments The Ann Arbor Symphony Orchestra is grateful to the area music and classroom teachers, school admin- istrators, and teaching artists who have collaborated with the Symphony on this Youth Concert and the accompanying resource materials. We recognize the following major donors for their support of the 2014 Youth Concert, The Planets. Mardi Gras Fund Anonymous Contributors Sasha Gale Zac Moore Sarah Ruddy Cover image courtesy of NASA. Ann Arbor Symphony Orchestra 220 E. Huron, Suite 470 Ann Arbor, MI 48104 734-9994-4801 [email protected] a2so.com © 2013 Ann Arbor Symphony Orchestra. All rights reserved. Table of Contents Introduction .................................................................................................................................................................................................................... 4 How to Use These Materials .................................................................................................................................................................................5 Concert Program ......................................................................................................................................................................................................... 6 Unit: The Orchestra ....................................................................................................................................................................................................7
    [Show full text]