Automatic note-level transcription is considered one of the most challenging tasks in music information retrieval. The specific case of flamenco singing transcription poses a particular challenge due to its complex melodic progressions, intonation inaccuracies, the use of a high degree of ornamentation, and the presence of guitar accompaniment. In this study, we explore the limitations of existing state of the art transcription systems for the case of flamenco singing and propose a specific solution for this genre: We first extract the predominant melody and apply a novel contour filtering process to eliminate segments of the pitch contour which originate from the guitar accompaniment. We formulate a set of onset detection functions based on volume and pitch characteristics to segment the resulting vocal pitch contour into discrete note events. A quantised pitch label is assigned to each note event by combining global pitch class probabilities with local pitch contour statistics. The proposed system outperforms state of the art singing transcription systems with respect to voicing accuracy, onset detection, and overall performance when evaluated on flamenco singing datasets.
Addressing the more complex task of singing transcription from polyphonic recordings @cite_35 , a multiple fundamental frequency estimator with an accent signal in order to extract the dominant pitch trajectory. The segmentation stage relies on a probabilistic note event model, using a Hidden Markov Model (HMM) trained on manual transcriptions. In an extension to this approach @cite_14 , note transition probabilities were incorporated in the computational model. Recently, this note segmentation method was implemented in the computer-aided note transcription tool tony @cite_25 . It should be mentioned that such probabilistic methods require a large amount of ground truth data during the training stage. This involves time-consuming manual annotations in particular for improvisational and strongly ornamented singing performances, as it is the case for flamenco music.
@cite_35 @cite_14 @cite_25
2012433269 2169784142 2024339477 2063535335
Abstract We present a system for the automatic transcription of solo human singing into note sequences. Particular attention is devoted to the modelling of the transitions between consecutive notes of the sung passage. Hidden Markov models (HMMs) are used to represent both individual notes and the transitions between them, in order to capture the variability of the estimated pitch within a statistical framework. A database consisting of annotated passages sung by 26 soprano subjects is compiled and used for the development of the system. Explicit transition models are introduced in order to better identify note boundaries that are otherwise poorly modelled. Context-independent transition models are evaluated first, followed by context-dependent transition models which are shown to improve both the note recognition accuracy and the transition region time-alignment. The final system is found to be able to transcribe sung passages with an overall accuracy of 86.7 . This paper describes a Hidden Markov Model (HMM)-based method of automatic transcription of MIDI (Musical Instrument Digital Interface) signals of performed music. The problem is formulated as recognition of a given sequence of fluctuating note durations to find the most likely intended note sequence utilizing the modern continuous speech recognition technique. Combining a stochastic model of deviating note durations and a stochastic grammar representing possible sequences of notes, the maximum likelihood estimate of the note sequence is searched in terms of Viterbi algorithm. The same principle is successfully applied to a joint problem of bar line allocation, time measure recognition, and tempo estimation. Finally, durations of consecutive spl eta n notes are combined to form a "rhythm vector" representing tempo-free relative durations of the notes and treated in the same framework. Significant improvements compared with conventional "quantization" techniques are shown. This paper proposes a method for transcribing drums from polyphonic music using a network of connected hidden Markov models (HMMs). The task is to detect the temporal locations of unpitched percussive sounds (such as bass drum or hi-hat) and recognise the instruments played. Contrary to many earlier methods, a separate sound event segmentation is not done, but connected HMMs are used to perform the segmentation and recognition jointly. Two ways of using HMMs are studied: modelling combinations of the target drums and a detector-like modelling of each target drum. Acoustic feature parametrisation is done with mel-frequency cepstral coefficients and their first-order temporal derivatives. The effect of lowering the feature dimensionality with principal component analysis and linear discriminant analysis is evaluated. Unsupervised acoustic model parameter adaptation with maximum likelihood linear regression is evaluated for compensating the differences between the training and target signals. The performance of the proposed method is evaluated on a publicly available data set containing signals with and without accompaniment, and compared with two reference methods. The results suggest that the transcription is possible using connected HMMs, and that using detector-like models for each target drum provides a better performance than modelling drum combinations. This paper proposes a Bayesian approach for automatic music transcription of polyphonic MIDI signals based on generative modeling of onset occurrences of musical notes. Automatic music transcription involves two subproblems that are interdependent of each other: rhythm recognition and tempo estimation. When we listen to music, we are able to recognize its rhythm and tempo (or beat location) fairly easily even though there is ambiguity in determining the individual note values and tempo. This may be made possible through our empirical knowledge about rhythm patterns and tempo variations that possibly occur in music. To automate the process of recognizing the rhythm and tempo of music, we propose modeling the generative process of a MIDI signal of polyphonic music by combining the sub-process by which a musically natural tempo curve is generated and the sub-process by which a set of note onset positions is generated based on a 2-dimensional rhythm tree structure representation of music, and develop a parameter inference algorithm for the proposed model. We show some of the transcription results obtained with the present method.