A Computational Approach to Content-Based Retrieval of Folk Song Melodies
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Chapter 2. Corpus-Based Musicology. 11
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A programmer's environment for music analysis Author(s) Ó Maidín, Donncha Seán Publication date 1995 Original citation Ó Maidín, D. S. 1995. A programmer's environment for music analysis. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b1230585~S0 version http://dx.doi.org/10.13140/2.1.3387.2969 Access to the full text of the published version may require a subscription. Rights © 1995, Donncha S. Ó Maidín http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1629 from Downloaded on 2021-10-05T12:42:50Z A Programmer’s Environment for Music Analysis by Donncha Seán Ó Maidín, M.Sc., B.Mus. Submitted in May 1995 to The National University of Ireland for the degree of Doctor of Philosophy and revised in September 1995. This thesis was registered in The Department of Music, Faculty of Arts, University College, Cork, and was completed under the internal supervision of Professor David Cox and under the external examination of Professor Anthony Pople of the University of Lancaster. Copyright Donncha Ó Maidín 1995. scoreView. Table of Contents. ACKNOWLEDGEMENTS. IX CHAPTER 1. INTRODUCTION. 1 1.1 Overview. 1 1.2 Contribution of this Study to the Field of Corpus-Based Musicology. 3 1.3 Goals. 4 1.3.1 Informational Completeness. 4 1.3.2 Informational Objectivity. 5 1.3.3 Multi-Level. -
Music Information Retrieval and Musicology: What Do the Two Have in Common?
Music Information Retrieval and Musicology: What do the two have in common? Frans Wiering Information and Computing Sciences Utrecht University Musical Heritage, Oslo, 11 December 2010 1 Topic two disciplines Music Information Retrieval musicology what is the relationship? meaningful to musicology? implications for digital editions data-richness 2 1 Preliminary descriptions Music Information Retrieval (MIR) delivering the right (digital) music in answer to a user need right: matching the user’s taste, expertise, emotional state, activity, and cultural, social, physical and musical environment musicology understanding music in its context e.g. personal, social, economic, historical, theoretical MIR versus musicology delivery vs. understanding generic vs. specific 3 Music universe of music > 25,000,000 unique items individuals can recognise several 1000s of items different views of music object, digital or otherwise product work of art process in time mental process social phenomenon 4 2 MIR as a discipline emerged in 1960s (Kassler 1966), maturing since late 1990s definition (Downie 2004) a multidisciplinary research endeavor that strives to develop innovative content-based searching schemes, novel interfaces, and evolving networked delivery mechanisms in an effort to make the world’s vast store of music accessible to all contributing areas (Futrelle and Downie 2002) computer science, information retrieval audio engineering, digital sound processing musicology, music theory library science cognitive science, -
An Introduction to Music Studies Pdf, Epub, Ebook
AN INTRODUCTION TO MUSIC STUDIES PDF, EPUB, EBOOK Jim Samson,J. P. E. Harper-Scott | 310 pages | 31 Jan 2009 | CAMBRIDGE UNIVERSITY PRESS | 9780521603805 | English | Cambridge, United Kingdom An Introduction to Music Studies PDF Book To see what your friends thought of this book, please sign up. An analysis of sociomusicology, its issues; and the music and society in Hong Kong. Critical Entertainments: Music Old and New. Other Editions 6. The examination measures knowledge of facts and terminology, an understanding of concepts and forms related to music theory for example: pitch, dynamics, rhythm, melody , types of voices, instruments, and ensembles, characteristics, forms, and representative composers from the Middle Ages to the present, elements of contemporary and non-Western music, and the ability to apply this knowledge and understanding in audio excerpts from musical compositions. An Introduction to Music Studies by J. She has been described by the Harvard Gazette as "one of the world's most accomplished and admired music historians". The job market for tenure track professor positions is very competitive. You should have a passion for music and a strong interest in developing your understanding of music and ability to create it. D is the standard minimum credential for tenure track professor positions. Historical studies of music are for example concerned with a composer's life and works, the developments of styles and genres, e. Mus or a B. For other uses, see Musicology disambiguation. More Details Refresh and try again. Goodreads helps you keep track of books you want to read. These models were established not only in the field of physical anthropology , but also cultural anthropology. -
English Or German
GNMIDI MIDI TOOLS for Windows (c) 1997 Günter Nagler GNMIDI A software for MIDI friends by Günter Nagler MIDI is the language that most electronic musical instruments, computers and recording studios have in common. A MIDI file tells the playing device all the steps that the synthesizer must do to produce a song instead of only sound. GNMIDI gives you the opportunity to join in the fun that musicians have with the use of MIDI. Don't be afraid that working with MIDI is too difficult or requires too much knowledge of music, techniques or computers. With GNMIDI it's easy and fun to work with MIDI files. GNMIDI is very efficient. It is small enough to put on a floppy disk and take with you anywhere. It will even run right from the disk. No installation necessary! GNMIDI - MIDI tools for Windows (c) 1997 Günter Nagler All rights reserved. No parts of this work may be reproduced in any form or by any means - graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems - without the written permission of the publisher. Products that are referred to in this document may be either trademarks and/or registered trademarks of the respective owners. The publisher and the author make no claim to these trademarks. While every precaution has been taken in the preparation of this document, the publisher and the author assume no responsibility for errors or omissions, or for damages resulting from the use of information contained in this document or from the use of programs and source code that may accompany it. -
A Similarity Matrix for Irish Traditional Dance Music
Technological University Dublin ARROW@TU Dublin Dissertations School of Computer Sciences Winter 2010-11-01 A Similarity Matrix for Irish Traditional Dance Music Padraic Lavin Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/scschcomdis Part of the Other Computer Engineering Commons Recommended Citation Lavin, Padraic, "A Similarity Matrix for Irish Traditional Dance Music" (2010). Dissertations. 30. https://arrow.tudublin.ie/scschcomdis/30 This Dissertation is brought to you for free and open access by the School of Computer Sciences at ARROW@TU Dublin. It has been accepted for inclusion in Dissertations by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License A similarity matrix for Irish traditional dance music Padraic Lavin A dissertation submitted in partial fulfilment of the requirements of Dublin Institute of Technology for the degree of M.Sc. in Computing (Information Technology) July 2010 I certify that this dissertation which I now submit for examination for the award of MSc in Computing (Information Technology), is entirely my own work and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. This dissertation was prepared according to the regulations for postgraduate study of the Dublin Institute of Technology and has not been submitted in whole or part for an award in any other Institute or University. -
2020 Corporate Social Responsibility Governance | Environment | Society | Appendix
LOGO Questmark and Current Wordmark Light / Dark BELIEVE IN BETTER 2020 Corporate Social Responsibility Governance | Environment | Society | Appendix CHAIRMAN’S LETTER We’re on a quest to deliver a better world. We believe illustrates our commitment to deliver solutions that in better. As a leading disruptive solutions provider, achieve our customers’ missions while conducting Parsons delivers the technology to create the future of business in a responsible manner. We create value global defense, intelligence, and critical infrastructure. for stakeholders and safeguard and strengthen Our capabilities span cybersecurity and intelligence, communities in which we live, work, and play. missile defense and C5ISR, space and geospatial, This report highlights the progress we’ve made in the connected communities, and mobility solutions. following areas: When Parsons was founded, in 1944, we were eight • Governance employees with ambition to take on the biggest • Environment challenges and the drive to achieve things many thought • Society impossible by pioneering new methods and technologies. Along the way, we built a reputation for excellence and Our OWN ZERO program advances the fields of safety, grew into a global company with nearly 16,000 dedicated health, environment, and sustainability. Our many team members. A key to our success has been in striking award-winning project innovations and technology- the balance between bold ideas and the execution enabled solutions in this report are a reflection of our necessary to achieve them. agile and innovative staff around the world who help fulfill our mission every day. With technology accelerating at an ever-increasing rate, we continue to innovate and develop technology to I encourage you to read our CSR report on how provide differentiated sustainable solutions comprised of Parsons remains a responsible corporate citizen, software, hardware, and services to our customers. -
Postdoctoral Research Fellowship in Computational Musicological Analysis
Postdoctoral Research Fellowship in Computational Musicological Analysis Job description A Postdoctoral Research Fellowship (SKO1352) in Computational Musicological Analysis is available at RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion at the University of Oslo. RITMO is a Centre of Excellence funded by the Research Council of Norway. This interdisciplinary centre focuses on rhythm as a structuring mechanism for the temporal dimensions of human life. Methods from musicology, psychology, neuroscience, and informatics are combined to study rhythm as a fundamental property that shapes and underpins human cognition, behavior and cultural expressions. For more information, see www.uio.no/ritmo. All RITMO researchers are co-located and work in a unique interdisciplinary constellation, with world-leading competence in musicology, psychology and informatics. It is expected that all members of the center contribute to the general activities and collaborations within RITMO. The researchers have access to state-of-the-art facilities in sound/video recording, motion capture, eye tracking, physiological measurements, various types of brain imaging (EEG, fMRI), and rapid prototyping and robotics laboratories. More about the position The postdoctoral fellow will take part in the MIRAGE project, aimed at designing and implementing a comprehensive computational framework for music analysis. The objective is to generate rich and detailed descriptions of music, encompassing a large range of dimensions, including low-level features, mid-level structures and high-level concepts. The envisioned methodology consists of close interaction between automated music transcription and detailed musicological analysis of the transcriptions. Significant effort will be dedicated to the design of applications of value for musicology, music cognition and the general public. -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Music Theory - Why Bother? on Music Theory in Relation to Music Information Processing
Music Theory - Why bother? On Music Theory in relation to Music Information Processing Sven Ahlbäck, Doremir Music Research AB Prof. Royal College of Music, Stockholm 1 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 765068. • My background There is no such • What is this about? thing as a conceptual • Why is this in the summer vacuum school? Agenda • No, this will not be a full course or crash course in Music Theory • Aim: introduce some issues, discuss basic concepts and give some overview • Today: Introduction to approaches in the field of music theory and the possible relevance for MIR • Thursday: Pitch and Tonality - Sven Ahlbäck • How to study a music culture: Indian Classical music, by Rafael Caro • Friday: Rhythm & Structure - Sven Ahlbäck Topics for the workshops in afternoon sessions are connected • Harmony • Melodic similarity • Rhythm An example manual learning task: Transcription using your built-in biological system listen sing notate what we sing notate what we hear 200 300 200 300 200 intervals in cents (1/100 semitone) (”anhemitonic pentatonic scale”) How did it really sound? Examples Equidistant pentatonic pitch set Court music Uganda Moçambique 240 240 240 240 Studies of tuning & perception (Cooke 1970, Wachsmann 1971 Kubik 1960, Valkare 2016 etc.) What happened? Ex. Tongoli Fumbo Adhola Music: Fur ber Tongoli harp So what’s the ground truth here? ”There are only semitones and whole tones” Our perception is influenced by music theoretical concepts We hear what we know How does this relate to MIR? If models we use model human cognition, and human cognition is related to concepts originating from music theory, it might not be out of the way to be know a little about it? You might want to contribute to knowledge about music. -
Large-Scale Analysis of Frequency Modulation in Birdsong Databases
Methods in Ecology & Evolution 0000 doi: 10.1111/. Large-scale analysis of frequency modulation in birdsong databases Summary Birdsong often contains large amounts of rapid frequency modulation (FM). It is believed that the use or otherwise of FM is adaptive to the acoustic environment, and also that there are specific social uses of FM such as trills in aggressive territorial encounters. Yet temporal fine detail of FM is often absent or obscured in standard audio signal analysis methods such as Fourier analysis or linear prediction. Hence it is important to consider high resolution signal processing techniques for analysis of FM in bird vocalisations. If such methods can be applied at big data scales, this offers a further advantage as large datasets become available. We introduce methods from the signal processing literature which can go beyond spectrogram representations to analyse the fine modulations present in a signal at very short timescales. Focusing primarily on the genus Phylloscopus, we investigate which of a set of four analysis methods most strongly captures the species signal encoded in birdsong. We evaluate this through a feature-selection technique and an automatic classification experiment. In order to find tools useful in practical analysis of large databases, we also study the computational time taken by the methods, and their robustness to additive noise and MP3 compression. We find three methods which can robustly represent species-correlated FM attributes and can be applied to large datasets, and that the simplest method tested also appears to perform the best. We find that features representing the extremes of FM encode species identity supplementary to that captured in frequency features, whereas bandwidth features do not encode additional information. -
California State University, Northridge
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE SPEAKING IN THE SPACES RESERVED FOR SILENCE A thesis submitted in partial fulfillment of the requirements For the degree of Master of Art in English By Jung Hwan Chang May 2014 Copyright by Jung Hwan Chang 2014 ii The thesis of Jung Hwan Chang is approved: _____________________________________________ __________________ Professor Dorothy Barresi Date ______________________________________________ _________________ Dr. Katherine Haake Date ______________________________________________ __________________ Dr. Leilani Hall, Chair Date California State University, Northridge iii Table of Contents Copyright ii Signature Page iii Abstract iv Apology 1 Love 2 Learning To Play 3 A Mother’s Trade 4 How To Stay Afloat 5 Tracing Lines 6 Open House 7 Mano-a-Mano 8 Rose Hills 9 Gravestone Rubbing 10 Paper Christ 11 Unraveling Silence 12 A Fool’s Errand 13 Finding Love at Summer Camp 14 Drowsiness 15 Lullaby 16 Spoke in the Grass 17 Horses and Carousels 19 A New Home for Max 20 iv Preserved 21 Parsons Code 22 Make Me Promise 24 The Climb 26 Carving up old stories 27 Line-Cutting 28 A Brief Breath of Spring 30 Just Before Saying Hello 31 Dog Tags and Charm Bracelets 32 Afternoon Hike 33 Homeopathic Remedy 34 Home Less 35 Detour to Where I Love 36 Tracking Footprints 37 Back Home 38 Map-Making 39 Moving Eve 40 Night Sky 41 v ABSTRACT SPEAKING IN THE SPACES RESERVED FOR SILENCE: By Jung Hwan Chang Master of Arts in English Speaking in the Spaces Reserved for Silence is a collection of poems which work to navigate and collect the ephemeral nature of communication. -
16Th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain)
applied sciences Meeting Report 16th Sound and Music Computing Conference SMC 2019 (28–31 May 2019, Malaga, Spain) Lorenzo J. Tardón 1,* , Isabel Barbancho 1,* , Ana M. Barbancho 1 , Alberto Peinado 2, Stefania Serafin 3 and Federico Avanzini 4 1 ATIC Research Group, Universidad de Málaga, Andalucía Tech, E.T.S.I. Telecomunicación, 29071 Málaga, Spain; [email protected] 2 Universidad de Málaga, Andalucía Tech, E.T.S.I. Telecomunicación, 29071 Málaga, Spain; [email protected] 3 Multisensory Experience Lab., Aalborg University Copenhagen, 2450 Copenhagen SV, Denmark; [email protected] 4 LIM–Laboratorio di Informatica Musicale, Department of Computer Science, University of Milan, 20133 Milan, Italy; [email protected] * Correspondence: [email protected] (L.J.T.); [email protected] (I.B.) Received: 5 June 2019; Accepted: 9 June 2019; Published: 19 June 2019 Abstract: The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28–31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25–28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc. 1. Summer School 1.1. Arduino and Audio David Cuartielles Malmö University, Sweden The Arduino and audio workshop looks at possible ways to create inter- active sound production machines using Arduino boards.