Signal Processing for Music Analysis Meinard Müller, Member, IEEE, Daniel P
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MODAL ANALYSIS and TRANSCRIPTION of STROKES of the MRIDANGAM USING NON-NEGATIVE MATRIX FACTORIZATION Akshay Anantapadmanabhan1, Ashwin Bellur2 and Hema a Murthy1 ∗
MODAL ANALYSIS AND TRANSCRIPTION OF STROKES OF THE MRIDANGAM USING NON-NEGATIVE MATRIX FACTORIZATION Akshay Anantapadmanabhan1, Ashwin Bellur2 and Hema A Murthy1 ∗ 1 Department of Computer Science and Engineering, 2 Department of Electrical Engineering, Indian Institute of Technology, Madras, India - 600 036 ABSTRACT The mridangam is quite different from the tabla in that, the mridangam is a single body instrument with two membranes In this paper we use a Non-negative Matrix Factorization (one producing treble sounds while the other producing bass (NMF) based approach to analyze the strokes of the mri- sounds) as opposed to the tabla, which consists of two inde- dangam, a South Indian hand drum, in terms of the normal pendent bodies. C.V. Raman, in his work on Indian musical modes of the instrument. Using NMF, a dictionary of spectral drums [1], discusses some of the unique traits of the mridan- basis vectors are first created for each of the modes of the gam as a harmonic percussive instrument. He describes some mridangam. The composition of the strokes are then studied of the structural similarities between the mridangam and tabla by projecting them along the direction of the modes using but at the same time highlights some of the major differences NMF. We then extend this knowledge of each stroke in terms in their acoustic properties. He also illustrates the modes of of its basic modes to transcribe audio recordings. Hidden the mridangam using sand figures to reveal the basic physical Markov Models are adopted to learn the modal activations for and acoustic characteristics of the instrument. -
Maestro Plays Traditional Tabla
PERFORMAN CE Maestro plays traditional tabla By Arthur Dudney Hu s!ain wi ll be a visiting PlI.IH(:ETOHJAH STA" W RITER faculty member in the music departmen t next se mester, The instrument W: simple tt!aching a -e:ouue titled "in - a large drum and a small troduction to the Music of in drum. played with the fingers dia," which he designed with and palm. But Zaki r Hu ssain mathematics professor and plays the traditional Indian tabla enthusiast Manjul Bh ar instrument, the tabla, with gava. such subtlety that there see ms The appointment is funded to be more to it. by theCounci! of the Humani Nearly 300 community ties. members attended his recital Hussain brgan to study tab Thursday aft ernoon tohear th e la seriously .a t age sev('n with man internationally re nowned hi s father, and the two began for hi s fusion of classica l in touring together when Zakir dian and Western music. Su TABLA pagt4 )RINCETONIAN Friday APRIL 8, 200S Hussain discusses tabla history TABLA of his many appearances at the to work with hi s colleagues in Un iversity since 1974 - began the music department, espe Co nfinutd from pa,9t I with five minutes of virtuos cially those involved in elec ity demonstrating the instru tronic music. was 12. Hi s fa ther, Ali a Rakha, ment's range. He then intro "Princeton is a respected was wide ly considered one of duced himse lf: "My n.ame is education center and I'm look the greates t tabla players of all Zakir Hu ssain and 1 play this ing at this not as something to time. -
And Passive Speakers?
To be active or not to be active – that is the question... To be active or not to be active – that is the question... 1. Active, passive – the situation 2. Active and passive loudspeaker – the basic difference 3. Passive loudspeaker 4. Active loudspeaker 5. The ADAM loudspeaker: passive option, active optimum 1. Active versus Passive – the Situation In any hifi-system, the loudspeakers are the pivotal component concerning sound quality. That is not to say that the other components do not matter. Nevertheless, it is indisputable that the loudspeaker is decisive for the sound of a hifi-system. It is – besides the acoustical properties of the listening room and the recording itself – the core of any music reproduction. The history of loudspeaker development has produced a great variety of very different systems and designs. The circuit technology of the frequency-separating filter that separates the audio signal into different frequency ranges is determining the design of a loudspeaker. In this respect we distinguish between active and passive systems. Usually, this is a topic that is often underestimated in its importance for sound quality. Active-passive is much more than just a technical negligibility: In fact, the impact of the dividing network on the overall sound of a loudspeaker is substantial. Active or passive – which system is preferable? Considering the aspects mentioned before, it may become a little more comprehensive why the very question comes up over and over again in the hifi-world. For decades it has been spooking as a debate on principles in the journals and magazines and for some time, now, in the web forums. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
Real-Time Programming and Processing of Music Signals Arshia Cont
Real-time Programming and Processing of Music Signals Arshia Cont To cite this version: Arshia Cont. Real-time Programming and Processing of Music Signals. Sound [cs.SD]. Université Pierre et Marie Curie - Paris VI, 2013. tel-00829771 HAL Id: tel-00829771 https://tel.archives-ouvertes.fr/tel-00829771 Submitted on 3 Jun 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Realtime Programming & Processing of Music Signals by ARSHIA CONT Ircam-CNRS-UPMC Mixed Research Unit MuTant Team-Project (INRIA) Musical Representations Team, Ircam-Centre Pompidou 1 Place Igor Stravinsky, 75004 Paris, France. Habilitation à diriger la recherche Defended on May 30th in front of the jury composed of: Gérard Berry Collège de France Professor Roger Dannanberg Carnegie Mellon University Professor Carlos Agon UPMC - Ircam Professor François Pachet Sony CSL Senior Researcher Miller Puckette UCSD Professor Marco Stroppa Composer ii à Marie le sel de ma vie iv CONTENTS 1. Introduction1 1.1. Synthetic Summary .................. 1 1.2. Publication List 2007-2012 ................ 3 1.3. Research Advising Summary ............... 5 2. Realtime Machine Listening7 2.1. Automatic Transcription................. 7 2.2. Automatic Alignment .................. 10 2.2.1. -
Introduction to the Digital Snake
TABLE OF CONTENTS What’s an Audio Snake ........................................4 The Benefits of the Digital Snake .........................5 Digital Snake Components ..................................6 Improved Intelligibility ...........................................8 Immunity from Hums & Buzzes .............................9 Lightweight & Portable .......................................10 Low Installation Cost ...........................................11 Additional Benefits ..............................................12 Digital Snake Comparison Chart .......................14 Conclusion ...........................................................15 All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland System Solutions. All trade- marks are the property of their respective owners. Roland System Solutions © 2005 Introduction Digital is the technology of our world today. It’s all around us in the form of CDs, DVDs, MP3 players, digital cameras, and computers. Digital offers great benefits to all of us, and makes our lives easier and better. Such benefits would have been impossible using analog technology. Who would go back to the world of cassette tapes, for example, after experiencing the ease of access and clean sound quality of a CD? Until recently, analog sound systems have been the standard for sound reinforcement and PA applications. However, recent technological advances have brought the benefits of digital audio to the live sound arena. Digital audio is superior -
My Forays Into the World of the Tablä†
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2014 My Forays into the World of the Tablā Madeline Longacre SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Music Commons Recommended Citation Longacre, Madeline, "My Forays into the World of the Tablā" (2014). Independent Study Project (ISP) Collection. 1814. https://digitalcollections.sit.edu/isp_collection/1814 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. MY FORAYS INTO THE WORLD OF THE TABL Ā Madeline Longacre Dr. M. N. Storm Maria Stallone, Director, IES Abroad Delhi SIT: Study Abroad India National Identity and the Arts Program, New Delhi Spring 2014 TABL Ā OF CONTENTS ABSTRACT ………………………………………………………………………………………....3 ACKNOWLEDGEMENTS ……………………………………………………………………………..4 DEDICATION . ………………………………………………………………………………...….....5 INTRODUCTION ………………………………………………………………………………….....6 WHAT MAKES A TABL Ā……………………………………………………………………………7 HOW TO PLAY THE TABL Ā…………………………………………………………………………9 ONE CITY , THREE NAMES ………………………………………………………………………...11 A HISTORY OF VARANASI ………………………………………………………………………...12 VARANASI AS A MUSICAL CENTER ……………………………………………………………….14 THE ORIGINS OF THE TABL Ā……………………………………………………………………...15 -
Audio Interface User's Manual
Audio Interface User’s Manual Eurorack Synthesizer Modules 14 HP TABLE OF CONTENTS 1.INTRODUCTION 2.WARRANTY 3.INSTALLATION 4.FUNCTION OF PANEL COMPONENTS 5.SIGNALFLOW & ROUTING 6.SPECIFICATIONS 2 1. INTRODUCTION Audiophile Circuits League. -The main purpose of the ACL Audio Interface module is to interface modular synthesizer systems with professional audio recording and stage equipment. The combination of studio quality signal path, �lexible routing possibilities and a headphoneheadphones ampli�ier, with low capabledistortion, of drivingmakes theboth connection high and low between impedance these different environments effortless and sonically transparent. The ACL Audio Interface offers balanced to unbalanced and unbalanced to balanced stereo lines with level controls. The stereo signal from the auxiliary input,either alsowith with balanced level tocontrol, unbalanced, can be oroptionally unbalanced routed to balanced to and mixed line signals,together or can be muted. The headphone ampli�ier can also get its signal from one or the other line after the level control and mixing stage, or can be muted. Since the ampli�ier is AC coupled only at the input, but not at the output, there is an on-board DC protection circuit included. In case the headphone ampli�ier is driven into clipping, the protection can also be tripped. The module has a soft start function* and one overload indicator for every line. *With the soft start function, the interface switch is turned on after a while after turning on the Eurorack main unit. This function can prevent output of unexpecteddamage to the sound speaker. that another module will emit at startup, which will cause 3 2. -
21065L Audio Tutorial
a Using The Low-Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Revision 1.0 - 12/4/98 dB +12 0 -12 Left Right Left EQ Right EQ Pan L R L R L R L R L R L R L R L R 1 2 3 4 5 6 7 8 Mic High Line L R Mid Play Back Bass CNTR 0 0 3 4 Input Gain P F R Master Vol. 1 2 3 4 5 6 7 8 Authors: John Tomarakos Dan Ledger Analog Devices DSP Applications 1 Using The Low Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Dan Ledger and John Tomarakos DSP Applications Group, Analog Devices, Norwood, MA 02062, USA This document examines desirable DSP features to consider for implementation of real time audio applications, and also offers programming techniques to create DSP algorithms found in today's professional and consumer audio equipment. Part One will begin with a discussion of important audio processor-specific characteristics such as speed, cost, data word length, floating-point vs. fixed-point arithmetic, double-precision vs. single-precision data, I/O capabilities, and dynamic range/SNR capabilities. Comparisions between DSP's and audio decoders that are targeted for consumer/professional audio applications will be shown. Part Two will cover example algorithmic building blocks that can be used to implement many DSP audio algorithms using the ADSP-21065L including: Basic audio signal manipulation, filtering/digital parametric equalization, digital audio effects and sound synthesis techniques. TABLE OF CONTENTS 0. INTRODUCTION ................................................................................................................................................................4 1. -
MINIDISC MANUAL V3.0E Table of Contents
MINIDISC MANUAL V3.0E Table of Contents Introduction . 1 1. The MiniDisc System 1.1. The Features . 2 1.2. What it is and How it Works . 3 1.3. Serial Copy Management System . 8 1.4. Additional Features of the Premastered MD . 8 2. The production process of the premastered MD 2.1. MD Production . 9 2.2. MD Components . 10 3. Input components specification 3.1. Sound Carrier Specifications . 12 3.2. Additional TOC Data / Character Information . 17 3.3. Label-, Artwork- and Print Films . 19 3.4. MiniDisc Logo . 23 4. Sony DADC Austria AG 4.1. The Company . 25 5. Appendix Form Sheets Introduction T he quick random access of Compact Disc players has become a necessity for music lovers. The high quality of digital sound is now the norm. The future of personal audio must meet the above criteria and more. That’s why Sony has created the MiniDisc, a revolutionary evolution in the field of digital audio based on an advanced miniature optical disc. The MD offers consumers the quick random access, durability and high sound quality of optical media, as well as superb compactness, shock- resistant portability and recordability. In short, the MD format has been created to meet the needs of personal music entertainment in the future. Based on a dazzling array of new technologies, the MiniDisc offers a new lifestyle in personal audio enjoyment. The Features 1. The MiniDisc System 1.1. The Features With the MiniDisc, Sony has created a revolutionary optical disc. It offers all the features that music fans have been waiting for. -
Proceedings-Print.Pdf ISSN: 2175-6759 ISBN: 978-85-76694-75-5
Edited by: Flávio Luiz Schiavoni Rodrigo Schramm José Eduardo Fornari Novo Junior Leandro Lesqueves Costalonga ISSN 2175-6759 Ficha catalográfica elaborada pelo Setor de Processamento Técnico da Divisão de Biblioteca da UFSJ Simpósio Brasileiro de Computação Musical (15. : 2015 : Campinas, SP) Anais [recurso eletrônico] do 15º Simpósio Brasileiro de Computação Musical = 15th Brazilian Symposium on Computer Music (SBCM), 23 a 25 de novembro de 2015, Campinas, SP / editado por Flávio Luiz Schiavoni ... [et al.]. – Campinas: UNICAMP, 2015. Disponível em: http://compmus.ime.usp.br/sbcm2015/files/proceedings-print.pdf ISSN: 2175-6759 ISBN: 978-85-76694-75-5 1. Música por computador. 2. Arte e tecnologia. 3. Multimídia (Arte). I. Schiavoni, Flávio Luiz (Ed.). II. Título. CDU: 78:004 SBCM 2015 is organized by University of Campinas (UNICAMP) President: Jos´eTadeu Jorge Vice President for University Coordination: Alvaro´ Penteado Cr´osta Vice President for Research (PRP): Gl´aucia Maria Pastore Coordination of Interdisciplinary Centers (COCEN) Coordinator: Jurandir Zullo Junior Interdisciplinary Center for Studies on Sound Communication (NICS) Coordinator: Adriana do Nascimento Ara´ujo Mendes Art Institute, Department of Music Director: Fernando Augusto de Almeida Hashimoto Chief of the Department: Leandro Barsalini Coordinator of Graduate Studies in Music: Alexandre Zamith Almeida Coordinator of Undergraduate Studies in Music: Paulo J. Siqueira Tin´e Production Center Staff (Ceprod) Visual programming: Ivan Avelar Promotion Brazilian Computer -
ESA: a CLIM Library for Writing Emacs-Style Applications
ESA: A CLIM Library for Writing Emacs-Style Applications Robert Strandh Troels Henriksen LaBRI, Université Bordeaux 1 DIKU, University of Copenhagen 351, Cours de la Libération Universitetsparken 1, Copenhagen 33405 Talence Cedex [email protected] France [email protected] David Murray Christophe Rhodes ADMurray Associates Goldsmiths, University of London 10 Rue Carrier Belleuse, 75015 Paris New Cross Road, London, SE14 6NW [email protected] [email protected] ABSTRACT style applications. The central distinguishing feature of an We describe ESA (for Emacs-Style Application), a library Emacs-style application, for our purposes, is that it uses for writing applications with an Emacs look-and-feel within short sequences of keystrokes as the default method of in- the Common Lisp Interface Manager. The ESA library voking commands, and only occasionally requires the user to takes advantage of the layered design of CLIM to provide a type the full name of the command in a minibuffer. A spe- command loop that uses Emacs-style multi-keystroke com- cial keystroke (M-x) is used to invoke commands by name. mand invocation. ESA supplies other functionality for writ- This interaction style is substantially different from the one ing such applications such as a minibuffer for invoking ex- provided by CLIM by default, and therefore required us to tended commands and for supplying command arguments, write a different CLIM top level. Fortunately, CLIM was Emacs-style keyboard macros and numeric arguments, file designed to make this not only possible but fairly straight- and buffer management, and more. ESA is currently used forward, as the implementation of a replacement top level in two major CLIM applications: the Climacs text editor can build on the protocol layers beneath, just as the default (and the Drei text gadget integrated with the McCLIM im- top level is built.