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Additive Synthesis with Band-Limited Oscillator Sections 75.42 Structure A+B+C 3.33 Folk Songs,” Art of Music-Journal of the Shanghai A+B+C+D+ Music Structure Music Proportion Total Type Style (%) (%) 7. REFERENCES A 17.50 [1] L. K, “Theme Motif Analysis as Applied in Chinese Coordinate A+B 20.42 Additive Synthesis with Band-Limited Oscillator Sections 75.42 Structure A+B+C 3.33 Folk Songs,” Art of Music-Journal of the Shanghai A+B+C+D+... 34.17 Conservatory of Music, 2005. Reproducing A+B+A 10.00 10.00 Peter Pabon So Oishi Structure [2] Z.-Y. P, “The Common Characteristics of Folk Songs Cyclotron A+B+A+C+A 1.25 Institute of Sonology, Institute of Sonology, 1.25 in Plains of Northeast China,” Journal of Jilin College Structure A+B+A+C+A+... 0 Royal Conservatoire, Juliana van Stolberglaan 1, Royal Conservatoire, Juliana van Stolberglaan 1, of the Arts, 2010. A+B+A+B 5.00 2595 CA Den Haag, The Netherlands 2595 CA Den Haag, The Netherlands Circular Structure A+B+A+B+A+B 1.67 12.92 A+B+A+B+A+B+... 6.25 [3] Y. Ruiqing, “Chinese folk melody form (22),” Jour- [email protected] [email protected] nal of music education and creation, vol. 5, pp. 18–20, Table 3. Statistical results of HaoZi-Hunan music structure styles 2015. ABSTRACT harmonic regions by maintaining synced phase-couplings to a common devisor term. In this extended BLOsc ver- The last columns of Table 1, Table 2 and Table 3 all show [4] Z. Shenghao, “The interpretation of Chinese folk songs The band-limited oscillator (BLOsc) is atypical as it pro- sion, each frequency region can be given its own inde- that the folk songs in the three regions have general charac- and music ontology elements,” Ge Hai, vol. 4, pp. 48– duces signal spectra with distinctive edgings instead of pendent exponential sloping (see Figure 1). teristics: the coordinate structure occupies the largest pro- 50, 2013. distinct peaks. An edging at low frequency can have a portion, and the cyclotron structure the least. The reason comparable perceptual effect as a spectral peak. When 1.1 Nyquist why the coordinate structure is the most common is that it [5] G. Mantena, S. Achanta, and K. Prahallad, “Query- modulated, the BLOsc has the advantage that it preserves is the simplest combination of the music structure and is by-example spoken term detection using frequency spectral textures and contrasts that tend to blur with a A large part of the literature on the band-limitation the foundation of all music structure types. On the other domain linear prediction and non-segmental dynamic resonance-based (subtractive) synthesis approach. First, paradigm is concerned with the problem of generating hand, the strict requirements for the formation of the cy- time warping,” IEEE/ACM Trans. Audio, Speech, the simple math behind the BLOsc is described. Staying non-aliased versions of the standard oscillator waveforms clotron structure make it the least common. It needs to Lang.Process, vol. 22, no. 5, pp. 946–955, 2014. close to this formulation helps to keep the model mallea- found with the analog synthesizer [2][3][4]. With all have two inconsistent clips in three adjacent clips with the [6] G. Min, X. Zhang, J. Yang, and Y. Chen, “Sparse rep- ble and to maintain the dynamic consistencies within the Nyquist problems solved, we can safely do subtractive same label, which leads to its not being stable and eas- resentation and performance analysis for LSP parame- model. Next, an extended processing scheme is presented synthesis with our familiar palette of waveforms, but now ily transitioning to the reproducing structure and circular ters via dictionary learning,” Journal of Pla University that essentially involves a sectioned evaluation of the in the digital domain. Yet, in this case, the traditional structure. of Science & Technology, 2014. frequency range. The modulation and the application of subdivision additive-versus-subtractive is far from trivial. We also compare the proportions of each music structure convolution-, and chance-mechanisms are examined. With a subtractive scheme the developing spectrum enve- styles in the three region’ folk songs from Table 1, Table 2, [7] D. Bogdanov, J. Serra,` N. Wack, P. Herrera, and Stochastic control, MFCC based control and the options lope contrasts depend on the amount of filtering. With the and Table 3, We can see another indication of the general X. Serra, “Unifying low-level and high-level music of formant modeling are shortly discussed. Implementa- additive BLOsc approach, large contrast can be there characteristics of the three region folk songs, as all the mu- similarity measures,” IEEE Trans.Multimedia, vol. 13, tions in MAX/MSP and Super Collider are used to from the start and remain preserved when modulated. So, sic structure styles have similar ratios. no. 4, pp. 687–701, 2011. demonstrate the different options. this earlier classification, expresses a critical division; In conclusion, we can identify the general characteristics very different musical results may emerge not only due to [8] M. Mller and S. Ewert, “Chroma Toolbox: Matlab of the three regions’ folk songs are that, they have strong a difference in compositional strategy, but also due to a similarities in the music structure types and styles, having Implementations for Extracting Variants of Chroma- 1. INTRODUCTION Based Audio Features.” in in Proc. of ISMIR Interna- different valuation of the spectral factors and perceptual similar ratios,with the coordinate Structure the most and Before digital became the leading approach in electronic cues that determine the timbre of a sound. the cyclotron structure the least. tional Society for Music Information Retrieval Confer- ence, 2011, pp. 215–220. sound synthesis, Moorer [1] introduced the band-limited oscillator (BLOsc) principle as a means to synthesize 1.2 Lower frequency limit 5. CONCLUSIONS [9] Z. Fu, G. Lu, K. M. Ting, and D. Zhang, “A survey complex audio spectra with only a limited set of frequen- of audio-based music classification and annotation,” cy-coupled oscillators. At the time in 1976 the technique A peculiar perceptual phenomenon appears when the This paper studies the general characteristics of Chinese IEEE Trans.Multimedia, vol. 13, no. 2, pp. 303–319, was still called “discrete summation”. The BLOsc uses an limiting frequency of the BLOsc is no longer close to the folk songs using the styles of folk songs’ music structure 2011. efficient calculation scheme to synthesize signals that, Nyquist-frequency but transposed downwards to a lower, types. The process consists of three steps: first, segment over a hard-limited harmonic range, show a constant ex- more audible frequency setting, somewhere below 3 kHz. each folk song into clips based on LSD audio segmentation [10] B. K. Mishra, A. Rath, N. R. Nayak, and S. Swain, “Far ponentially varying spectrum envelope, one that is Typically, more or less involuntary, the BLOsc sound efficient K-means clustering algorithm,” in Proc. of algorithm we proposed. Then, music structure annotation smooth when measured on a scale in dB/harmonic. will attain a voice-like character, where the cutoff fre- ACM International Conference on Advances in Com- to these clips. Finally, make statistics on the styles of each quency will associate with a distinct vowel identity. A puting, Communications and Informatics, 2012, pp. folk song’ music structure types and analyze their general Hz) / first inexplicit suggestion of an articulating voice may characteristics. 106–110. 40 A become more apparent, or more inevitable, when the lim- The experiments show that the LSD audio algorithm we [11] Y. Tamura and S. Miyamoto, “A method of two stage iting frequency or the fundamental frequency are modu- proposed is effective for audio segmentation according to 20 clustering using agglomerative hierarchical algorithms lated and follow distinct gestures over time. The effect is music similarity. The F-measure can reach 90.39%. It is 0 with one-pass k-means++ or k-median++,” in Proc. of audible in S. Oishi’s electronic compositions and with his feasible to automatically analyze the general characteris- 0 1000 2000 3000 4000 5000 6000 7000 8000 9000 104 1.1·1041.2·104 IEEE Granular Computing, 2014, pp. 281–285. Sound pressure level (dB tics of folk songs based on the music structure types we Frequency (Hz) BLOsc Super Collider objects you can simply explore proposed, and the general characteristics of the three re- [12] R. Etemadpour, R. Motta, J. G. de Souza Paiva, B this phenomenon yourself [6]. It is a known phenomenon. gions’ folk songs is that all the music structure types and R. Minghim, F. de Oliveira, M. Cristina, and L. Lin- Assman and Nearey [7] already report how discrete, styles have similar ratios, with the coordinate structure be- sen, “Perception-based evaluation of projection meth- equal-intensity (flat) harmonic configurations, may trig- 0 0.01 0.02 ing the most and the cyclotron structure the least. ods for multidimensional data visualization,” IEEE ger the perception of specific vowel identities and they Trans.Vis Comput Grap., vol. 21, no. 1, pp. 81–94, Figure 1. Sectioned BLOsc, (A) spectrum & (B) signal. were able to link the cutoff frequencies to intensity 2015. 6. ACKNOWLEDGEMENT Expanding on this principle, the harmonic frequency changes in the first formant region. Their study provides [13] T. E. C. of ”Integration of Chinese folk songs”, Inte- range can again be arbitrary sub-sectioned in discrete answers using a static, constant frequency viewpoint, but The work is supported in part by the fundamental research gration of Chinese folk songs. Chinese ISBN center, we were specifically interested in the dynamics. funds for the central universities: sk2016017. Any opin- 1994. Copyright: © 2016 Peter Pabon et al. This is an open-access article dis- ions, findings and conclusions or recommendations expressed tributed under the terms of the Creative Commons Attribution License 3.0 in this material are those of the authors and do not neces- Unported, which permits unrestricted use, distribution, and reproduction sarily reflect the views of the funding agencies.
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