Automatic Dastgah Recognition Using Markov Models
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Iranian Traditional Music Dastgah Classification
12th International Society for Music Information Retrieval Conference (ISMIR 2011) IRANIAN TRADITIONAL MUSIC DASTGAH CLASSIFICATION SajjadAbdoli Computer Department, Islamic Azad University, Central Tehran Branch, Tehran, Iran [email protected] ABSTRACT logic to integrate music tuning theory and practice. After feature extraction, the proposed system assumes In this study, a system for Iranian traditional music Dastgah each performed note as an IT2FS, so each musical piece is a classification is presented. Persian music is based upon a set set of IT2FSs.The maximum similarity between this set and of seven major Dastgahs. The Dastgah in Persian music is theoretical Dastgah prototypes, which are also sets of similar to western musical scales and also Maqams in IT2FSs, indicates the desirable Dastgah. Gedik et al. [10] Turkish and Arabic music. Fuzzy logic type 2 as the basic used the songs of the dataset to construct the patterns, part of our system has been used for modeling the whereas in this study, the system makes no assumption about uncertainty of tuning the scale steps of each Dastgah. The the data except that different Dastgahs have different pitch method assumes each performed note as a Fuzzy Set (FS), so intervals. Figure 1 shows the schematic diagram of the each musical piece is a set of FSs. The maximum similarity system. We also show that the system can recognize the between this set and theoretical data indicates the desirable Dastgah of the songs of the proposed dataset with overall Dastgah. In this study, a collection of small-sized dataset for accuracy of 85%. Persian music is also given. -
A Framework for the Static and Dynamic Analysis of Interaction Graphs
A Framework for the Static and Dynamic Analysis of Interaction Graphs DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sitaram Asur, B.E., M.Sc. * * * * * The Ohio State University 2009 Dissertation Committee: Approved by Prof. Srinivasan Parthasarathy, Adviser Prof. Gagan Agrawal Adviser Prof. P. Sadayappan Graduate Program in Computer Science and Engineering c Copyright by Sitaram Asur 2009 ABSTRACT Data originating from many different real-world domains can be represented mean- ingfully as interaction networks. Examples abound, ranging from gene expression networks to social networks, and from the World Wide Web to protein-protein inter- action networks. The study of these complex networks can result in the discovery of meaningful patterns and can potentially afford insight into the structure, properties and behavior of these networks. Hence, there is a need to design suitable algorithms to extract or infer meaningful information from these networks. However, the challenges involved are daunting. First, most of these real-world networks have specific topological constraints that make the task of extracting useful patterns using traditional data mining techniques difficult. Additionally, these networks can be noisy (containing unreliable interac- tions), which makes the process of knowledge discovery difficult. Second, these net- works are usually dynamic in nature. Identifying the portions of the network that are changing, characterizing and modeling the evolution, and inferring or predict- ing future trends are critical challenges that need to be addressed in the context of understanding the evolutionary behavior of such networks. To address these challenges, we propose a framework of algorithms designed to detect, analyze and reason about the structure, behavior and evolution of real-world interaction networks. -
How Was the Traditional Makam Theory Westernized for the Sake of Modernization?
Rast Müzikoloji Dergisi, 2018, 6 (1): 1769-1787 Original research https://doi.org/10.12975/pp1769-1787 Özgün araştırma How was the traditional makam theory westernized for the sake of modernization? Okan Murat Öztürk Ankara Music and Fine Arts University, Department of Musicology, Ankara, Turkey [email protected] Abstract In this article, the transformative interventions of those who want to modernize the tradition- al makam theory in Westernization process experienced in Turkey are discussed in historical and critical context. The makam is among the most basic concepts of Turkish music as well as the Eastern music. In order to analyze the issue correctly in conceptual framework, here, two basic ‘music theory approaches' have been distinguished in terms of the musical elements they are based on: (i.) ‘scale-oriented’ and, (ii.) ‘melody-oriented’. The first typically represents the conception of Western harmonic tonality, while the second also represents the traditional Turkish makam conception before the Westernization period. This period is dealt with in three phases: (i.) the traditional makam concept before the ‘modernization’, (ii.) transformative interventions in the modernization phase, (iii.) recent new and critical approaches. As makam theory was used once in the history of Turkey, to convey a traditional heritage, it had a peculi- ar way of practice and education in its own cultural frame. It is determined that three different theoretical models based on mathematics, philosophy or composition had been used to explain the makams. In the 19th century, Turkish modernization was resulted in a stage in which a desire to ‘resemble to the West’ began to emerge. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
A Method for Tonic Frequency Identification of Turkish Makam Music Recordings
A METHOD FOR TONIC FREQUENCY IDENTIFICATION OF TURKISH MAKAM MUSIC RECORDINGS Hasan Sercan Atlı Barıs¸Bozkurt Sertan S¸enturk¨ Bahc¸es¸ehir Universitesi¨ Koc¸ Universitesi¨ Universitat Pompeu Fabra hsercanatli barisbozkurt0 sertan.senturk @gmail.com @gmail.com @upf.edu ABSTRACT Pitch distributions (such as pitch histograms and pitch- class histograms) are commonly used in automatic tonic Karar is the final tone in the Turkish makam music performances. identification (Gedik & Bozkurt, 2010; Chordia & S¸enturk,¨ The karar frequency, hence the concert pitch varies among perfor- 2013). In (Krumhansl & Shepard, 1979) 12-dimensional mances due to the existence of many diapasons in Turkish makam music, instead of a single standard one. Correct estimation of the pitch frequency distribution are used to study euro-genetic karar frequency is critical for many computational tasks such as musics. Pitch distributions are also used for relevant tasks tuning analysis, audio-score alignment and automatic transcrip- such as key detection and chord recognition (Gomez,´ 2006) tion. We present a new karar frequency identification method for euro-genetic musics. that is based on detecting the last note in the recording and esti- mating its frequency. The method is applied on two large datasets For computational analysis of Turkish makam music of Turkish makam music recordings and shown to outperform the recordings, the distributions are computed from a melody state-of-the-art. feature such as fundamental pitch (Gedik & Bozkurt, 2010) or predominant melody (S¸enturk¨ et al., 2013). Gedik & Bozkurt (2010) have proposed the so-called makam his- 1. INTRODUCTION togram template matching (MHTM) method for automatic In Turkish Makam Music, the melodic dimension is ex- tonic identification. -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
Classification of Iranian Traditional Musical Modes (DASTGÄH) with Artificial Neural Network
Journal of Theoretical and Applied Vibration and Acoustics 2(2) 107-118 (2016) Journal of Theoretical and Applied Vibration and Acoustics I S A V journal homepage: http://tava.isav.ir Classification of Iranian traditional musical modes (DASTGÄH) with artificial neural network Borhan Beigzadeh *, Mojtaba Belali Koochesfahani Biomechatronics and Cognitive Engineering Research Lab, School of Mechanical Engineering, Iran University of Science and Technology, Tehran, Iran A R T I C L E I N F O A B S T R A C T Article history: The concept of Iranian traditional musical modes, namely Received 17 December 2015 DASTGÄH, is the basis for the traditional music system. The concept Received in revised form introduces seven DASTGÄHs. It is not an easy process to distinguish 9 May 2016 these modes and such practice is commonly performed by an experienced person in this field. Apparently, applying artificial Accepted 15 May 2015 intelligence to do such classification requires a combination of the Available online 06 July 2016 basic information in the field of traditional music with mathematical Keywords: concepts and knowledge. In this paper, it has been shown that it is Iranian traditional musical modes possible to classify the Iranian traditional musical modes (DASTGÄH) (DASTGÄH) with acceptable errors. The seven Iranian musical Classification modes including SHÖR, HOMÄYÖN, SEGÄH, CHEHÄRGÄH, MÄHÖR, NAVÄ and RÄST-PANJGÄH are studied for the two Artificial Neural Network musical instruments NEY and Violin as well as for a vocal song. For Feature extraction the purpose of classification, a multilayer perceptron neural network with supervised learning method is used. Inputs to the neural network include the top twenty peaks from the frequency spectrum of each musical piece belonging to the three aforementioned categories. -
Audio Feature Extraction for Exploring Turkish Makam Music
AUDIO FEATURE EXTRACTION FOR EXPLORING TURKISH MAKAM MUSIC Hasan Sercan Atlı1, Burak Uyar2, Sertan Şentürk3, Barış Bozkurt4 and Xavier Serra5 1,2 Audio Technologies, Bahçeşehir Üniversitesi, Istanbul, Turkey 3,5 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 4 Computer Engineering Department, Koç Üniversitesi, Istanbul, Turkey ABSTRACT For Turkish makam music, there exist several analysis tools which generally use only the audio as the input to extract the features of the audio. This study aims at extending such approach by using additional features such as scores, editorial metadata and the knowledge about the music. In this paper, the existing algorithms for similar research, the improvements we apply to the existing audio feature extraction tools and some potential topics for audio feature extraction of Turkish makam music are explained. For the improvements, we make use of the Turkish makam music corpus and the culture specific knowledge. We also present a web-based platform, Dunya, where the output of our research, such as pitch histograms, melodic progressions and segmentation information will be used to explore a collection of audio recordings of Turkish makam music. 1. Introduction To gain an analytical understanding about a music tradition and the relations between its descriptive attributes, it is useful and practical to get the help of the computational methods. Taking the advantage of the improvements in information retrieval and signal processing areas, we can organize large amount of data, navigate through large collections and discover the music genres, etc. By using the computational methods, more data can be processed in less time compared with the manual research methods. -
Open Lapp Samuel Modelingintonation.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGINEERING SCIENCE AND MECHANICS AND SCHOOL OF MUSIC MODELING INTONATION IN NON-WESTERN MUSICAL CULTURES SAMUEL LAPP SPRING 2017 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Engineering Science with interdisciplinary honors in Engineering Science and Music Reviewed and approved* by the following: Matthew B. Parkinson Associate Professor of Engineering Design and Mechanical Engineering Thesis Supervisor Mark Ballora Associate Professor of Music Technology Honors Adviser Gary Gray Associate Professor of Engineering Science and Mechanics Honors Adviser Judith A. Todd Department Head P. B. Breneman Chair and Professor of Engineering Science and Mechanics *Signatures are on file in the Schreyer Honors College and Engineering Science and Mechanics Office. i Abstract Musical cultures around the world use tuning systems very different from the tuning system used in Western music. Comparing and contrasting intonation from various cultures could give insight into the question of learned versus innate preferences in the perception of music, and into the cultural development of musical traditions. However, methods for analyzing intonation in Western music have not been generalized to non-Western contexts. Flexible and non-discrete tuning used in cultures such as Arabic maqam music pose a chal- lenge for analyzing intonation. This paper attempts to generalize Stolzenburg’s “Periodicity” method and Gill and Purves’ “Similarity” method for microtonal music, and finds that they are ill-suited for the analysis of Arabic music. An alternative approach is developed, which analyzes the relative intonation of a series of consecutive notes. This approach reveals that Arabic intonation is fundamentally different from Western and Chinese intonation. -
Integrating Elements of Persian Classical Music with Jazz
Edith Cowan University Research Online Theses : Honours Theses 2013 A transcultural journey : integrating elements of Persian classical music with jazz Kate Pass Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Music Commons Recommended Citation Pass, K. (2013). A transcultural journey : integrating elements of Persian classical music with jazz. https://ro.ecu.edu.au/theses_hons/116 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/116 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property of Edith Cowan University. However the literary rights of the author must also be respected. If any passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source of the passage must be acknowledged in the work. If the user desires to publish a paper or written work containing passages copied or closely paraphrased from this thesis, which passages would in total constitute and infringing copy for the purpose of the Copyright Act, he or she must first obtain the written permission of the author to do so. -
N-Gram Based Statistical Makam Detection on Makam Music in Turkey Using Symbolic Data
N-GRAM BASED STATISTICAL MAKAM DETECTION ON MAKAM MUSIC IN TURKEY USING SYMBOLIC DATA Erdem Ünal Barış Bozkurt M. Kemal Karaosmanoğlu TÜBİTAK-BİLGEM Bahçeşehir University Yildiz Technical University [email protected] [email protected] [email protected] ABSTRACT sults is questionable. The paper presents classification results without cross-validation, uses limited and ques- This work studies the effect of different score representa- tionable data (20 pieces for each of 10 makam where data tions and the potential of n-grams in makam classification is represented with 12 notes in an octave while today’s for traditional makam music in Turkey. While makams notation uses 24 notes in an octave). Due to such defi- are defined with various characteristics including a dis- ciencies, a new work needs to be conducted exploring the tinct set of pitches, pitch hierarchy, melodic direction, potential of n-grams in automatic makam recognition typical phrases and typical makam transitions, such cha- from symbolic data. Our main contributions in this study racteristics result in certain n-gram distributions which are: in addition to the 12-TET (Tone Equal Tempera- can be used for makam detection effectively. 13 popular ment) representation used in [2], [9], we also used data makams, some of which are very similar to each other, represented using the official theory of makam music in are used in this study. Using the leave-one-out strategy, Turkey (TMMT) which uses 24 tones (unequally spaced) makam models are created statistically and tested against in an octave, and holding a larger database, and challeng- the left out music piece. -
Western Listeners Detect Boundary Hierarchy in Indian Music: a Segmentation Study Tudor Popescu1,2*, Richard Widdess3 & Martin Rohrmeier4
www.nature.com/scientificreports OPEN Western listeners detect boundary hierarchy in Indian music: a segmentation study Tudor Popescu1,2*, Richard Widdess3 & Martin Rohrmeier4 How are listeners able to follow and enjoy complex pieces of music? Several theoretical frameworks suggest links between the process of listening and the formal structure of music, involving a division of the musical surface into structural units at multiple hierarchical levels. Whether boundaries between structural units are perceivable to listeners unfamiliar with the style, and are identifed congruently between naïve listeners and experts, remains unclear. Here, we focused on the case of Indian music, and asked 65 Western listeners (of mixed levels of musical training; most unfamiliar with Indian music) to intuitively segment into phrases a recording of sitar ālāp of two diferent rāga-modes. Each recording was also segmented by two experts, who identifed boundary regions at section and phrase levels. Participant- and region-wise scores were computed on the basis of "clicks" inside or outside boundary regions (hits/false alarms), inserted earlier or later within those regions (high/low "promptness"). We found substantial agreement—expressed as hit rates and click densities—among participants, and between participants’ and experts’ segmentations. The agreement and promptness scores difered between participants, levels, and recordings. We found no efect of musical training, but detected real-time awareness of grouping completion and boundary hierarchy. The fndings may potentially be explained by underlying general bottom-up processes, implicit learning of structural relationships, cross-cultural musical similarities, or universal cognitive capacities. Everyday experience listening to music suggests that even music in unfamiliar styles appears to "make sense" to some degree, as opposed to sounding random.