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.
Approaches to automatic note-level transcription from audio recordings date back as far as 1977 @cite_37 and are extensively reviewed by @cite_18 and @cite_17 . Most systems described in these reviews provide a generic transcription framework covering a wide range of instruments and musical genres. As mentioned in @cite_17 , specific instruments exhibit particular characteristics which might not be captured by a generic transcription system.
@cite_37 @cite_18 @cite_17
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Automatic drum transcription methods aim at extracting a symbolic representation of notes played by a drum kit in audio recordings. For automatic music analysis, this task is of particular interest as such a transcript can be used to extract high level information about the piece, e.g., tempo, downbeat positions, meter, and genre cues. In this work, an approach to transcribe drums from polyphonic audio signals based on a recurrent neural network is presented. Deep learning techniques like dropout and data augmentation are applied to improve the generalization capabilities of the system. The method is evaluated using established reference datasets consisting of solo drum tracks as well as drums mixed with accompaniment. The results are compared to state-of-the-art approaches on the same datasets. The evaluation reveals that F-measure values higher than state of the art can be achieved using the proposed method. Recent efforts in audio indexing and retrieval in music databases mostly focus on melody. If this is appropriate for polyphonic music signals, specific approaches are needed for systems dealing with percussive audio signals such as those produced by drums, tabla or djembe. Most studies of drum signal transcription focus on sounds taken in isolation. In this paper, we propose several methods for drum loop transcription where the drums signals dataset reflects the variability encountered in modern audio recordings (real and natural drum kits, audio effects, simultaneous instruments, etc.). The approaches described are based on hidden Markov models (HMM) and support vector machines (SVM). Promising results are obtained with a 83.9 correct recognition rate for a simplified taxonomy. This paper proposes an algorithm for aligning singing in pol yphonic music audio with textual lyrics. As preprocessing, t he system uses a voice separation algorithm based on melody transcription and sinusoidal modeling. The alignment is based on a hidden Markov model speech recognizer where the acoustic model is adapted to singing voice. The textual input is preprocess ed to create a language model consisting of a sequence of phonemes, pauses and possible instrumental breaks. Viterbi algorith m is used to align the audio features with the text. On a test set consis ting of 17 commercial recordings, the system achieves an average absolute error of 1.40 seconds in aligning lines of the lyrics. Identifying musical instruments in polyphonic music recordings is a challenging but important problem in the field of music information retrieval. It enables music search by instrument, helps recognize musical genres, or can make music transcription easier and more accurate. In this paper, we present a convolutional neural network framework for predominant instrument recognition in real-world polyphonic music. We train our network from fixed-length music excerpts with a single-labeled predominant instrument and estimate an arbitrary number of predominant instruments from an audio signal with a variable length. To obtain the audio-excerpt-wise result, we aggregate multiple outputs from sliding windows over the test audio. In doing so, we investigated two different aggregation methods: one takes the class-wise average followed by normalization, and the other perform temporally local class-wise max-pooling on the output probability prior to averaging and normalization steps to minimize the effect of averaging process suppresses the activation of sporadically appearing instruments. In addition, we conducted extensive experiments on several important factors that affect the performance, including analysis window size, identification threshold, and activation functions for neural networks to find the optimal set of parameters. Our analysis on the instrument-wise performance found that the onset type is a critical factor for recall and precision of each instrument. Using a dataset of 10k audio excerpts from 11 instruments for evaluation, we found that convolutional neural networks are more robust than conventional methods that exploit spectral features and source separation with support vector machines. Experimental results showed that the proposed convolutional network architecture obtained an F1 measure of 0.619 for micro and 0.513 for macro, respectively, achieving 23.1 and 18.8 in performance improvement compared with the state-of-the-art algorithm. Automatic music transcription is considered by many to be a key enabling technology in music signal processing. However, the performance of transcription systems is still significantly below that of a human expert, and accuracies reported in recent years seem to have reached a limit, although the field is still very active. In this paper we analyse limitations of current methods and identify promising directions for future research. Current transcription methods use general purpose models which are unable to capture the rich diversity found in music signals. One way to overcome the limited performance of transcription systems is to tailor algorithms to specific use-cases. Semi-automatic approaches are another way of achieving a more reliable transcription. Also, the wealth of musical scores and corresponding audio data now available are a rich potential source of training data, via forced alignment of audio to scores, but large scale utilisation of such data has yet to be attempted. Other promising approaches include the integration of information from multiple algorithms and different musical aspects. In a document network such as a citation network of scientific documents, web-logs, etc., the content produced by authors exhibits their interest in certain topics. In addition some authors influence other authors' interests. In this work, we propose to model the influence of cited authors along with the interests of citing authors. Moreover, we hypothesize that apart from the citations present in documents, the context surrounding the citation mention provides extra topical information about the cited authors. However, associating terms in the context to the cited authors remains an open problem. We propose novel document generation schemes that incorporate the context while simultaneously modeling the interests of citing authors and influence of the cited authors. Our experiments show significant improvements over baseline models for various evaluation criteria such as link prediction between document and cited author, and quantitatively explaining unseen text. The aim of this overview is to describe methods for the automatic transcription of Western polyphonic music. The transcription task is here understood as transforming an acoustic musical signal into a MIDI-like symbolic representation. Only pitched musical instruments are considered: recognizing the sounds of drum instruments is not discussed. The main emphasis is laid on estimating the multiple fundamental frequencies of several concurrent sounds. Various approaches to solve this problem are discussed, including methods that are based on modelling the human auditory periphery, methods that mimic the human auditory scene analysis function, signal model-based Bayesian inference methods, and data-adaptive methods. Another subproblem addressed is the rhythmic parsing of acoustic musical signals. From the transcription point of view, this amounts to the temporal segmentation of music signals at different time scales. The relationship between the two subproblems and the general structure of the transcription p... We introduce a dataset for facilitating audio-visual analysis of music performances. The dataset comprises 44 simple multi-instrument classical music pieces assembled from coordinated but separately recorded performances of individual tracks. For each piece, we provide the musical score in MIDI format, the audio recordings of the individual tracks, the audio and video recording of the assembled mixture, and ground-truth annotation files including frame-level and note-level transcriptions. We describe our methodology for the creation of the dataset, particularly highlighting our approaches to address the challenges involved in maintaining synchronization and expressiveness. We demonstrate the high quality of synchronization achieved with our proposed approach by comparing the dataset with existing widely used music audio datasets. We anticipate that the dataset will be useful for the development and evaluation of existing music information retrieval (MIR) tasks, as well as for novel multimodal tasks. We benchmark two existing MIR tasks (multipitch analysis and score-informed source separation) on the dataset and compare them with other existing music audio datasets. In addition, we consider two novel multimodal MIR tasks (visually informed multipitch analysis and polyphonic vibrato analysis) enabled by the dataset and provide evaluation measurements and baseline systems for future comparisons (from our recent work). Finally, we propose several emerging research directions that the dataset enables. This article deals with automatic transcription of flamenco music recordings-more specifically, a cappella singing. We first study the specifics of flamenco singing and propose a transcription system based on fundamental frequency and energy estimation, which incorporates an iterative strategy for note segmentation and labeling. The proposed approach is evaluated on a music collection of 72 performances, including a variety of singers and recording conditions, and the presence or absence of percussion, background voices, and noise. We obtain satisfying results for the different approaches tested, and our system outperforms a state-of-the-art approach designed for other singing styles. In this study, we discuss the difficulties found in transcribing flamenco singing and in evaluating the obtained transcriptions, we analyze the influence of the different steps of the algorithm, and we state the main limitations of our approach and discuss challenges for future studies. A citing sentence is one that appears in a scientific article and cites previous work. Citing sentences have been studied and used in many applications. For example, they have been used in scientific paper summarization, automatic survey generation, paraphrase identification, and citation function classification. Citing sentences that cite multiple papers are common in scientific writing. This observation should be taken into consideration when using citing sentences in applications. For instance, when a citing sentence is used in a summary of a scientific paper, only the fragments of the sentence that are relevant to the summarized paper should be included in the summary. In this paper, we present and compare three different approaches for identifying the fragments of a citing sentence that are related to a given target reference. Our methods are: word classification, sequence labeling, and segment classification. Our experiments show that segment classification achieves the best results. We apply deep learning methods, specifically long short-term memory (LSTM) networks, to music transcription modelling and composition. We build and train LSTM networks using approximately 23,000 music transcriptions expressed with a high-level vocabulary (ABC notation), and use them to generate new transcriptions. Our practical aim is to create music transcription models useful in particular contexts of music composition. We present results from three perspectives: 1) at the population level, comparing descriptive statistics of the set of training transcriptions and generated transcriptions; 2) at the individual level, examining how a generated transcription reflects the conventions of a music practice in the training transcriptions (Celtic folk); 3) at the application level, using the system for idea generation in music composition. We make our datasets, software and sound examples open and available: this https URL . Scholars are increasingly citing electronic “web references” which are not preserved in libraries or full text archives. WebCite is a new standard for citing web references. To “webcite” a document involves archiving the cited Web page through www.webcitation.org and citing the WebCite permalink instead of (or in addition to) the unstable live Web page. This journal has amended its “instructions for authors” accordingly, asking authors to archive cited Web pages before submitting a manuscript. Almost 200 other journals are already using the system. We discuss the rationale for WebCite, its technology, and how scholars, editors, and publishers can benefit from the service. Citing scholars initiate an archiving process of all cited Web references, ideally before they submit a manuscript. Authors of online documents and websites which are expected to be cited by others can ensure that their work is permanently available by creating an archived copy using WebCite and providing the citation information including the WebCite link on their Web document(s). Editors should ask their authors to cache all cited Web addresses (Uniform Resource Locators, or URLs) “prospectively” before submitting their manuscripts to their journal. Editors and publishers should also instruct their copyeditors to cache cited Web material if the author has not done so already. Finally, WebCite can process publisher submitted “citing articles” (submitted for example as eXtensible Markup Language [XML] documents) to automatically archive all cited Web pages shortly before or on publication. Finally, WebCite can act as a focussed crawler, caching retrospectively references of already published articles. Copyright issues are addressed by honouring respective Internet standards (robot exclusion files, no-cache and no-archive tags). Long-term preservation is ensured by agreements with libraries and digital preservation organizations. The resulting WebCite Index may also have applications for research assessment exercises, being able to measure the impact of Web services and published Web documents through access and Web citation metrics. @PARASPLIT [J Med Internet Res 2005;7(5):e60] 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. This publication presents a new method for the detection and classification of un-pitched percussive instruments in real world musical signals. The derived information is an important pre-requisite for the creation of a musical score, i.e. automatic transcription, and for the automatic extraction of semantic meaningful meta-data, e.g. tempo and musical meter. The proposed method applies Independent Subspace Analysis using Non-Negative Independent Component Analysis and principles of Prior Subspace Analysis. An important extension of Prior Subspace Analysis is the identification of frequency subspaces of percussive instruments from the signal itself. The frequency subspaces serve as information for the detection of the percussive events and the subsequent classification of the occurring instruments. Results are reported on 40 manually transcribed test items. A new form of document coupling called co-citation is defined as the frequency with which two documents are cited together. The co-citation frequency of two scientific papers can be determined by comparing lists of citing documents in the Science Citation Index and counting identical entries. Networks of co-cited papers can be generated for specific scientific specialties, and an example is drawn from the literature of particle physics. Co-citation patterns are found to differ significantly from bibliographic coupling patterns, but to agree generally with patterns of direct citation. Clusters of co-cited papers provide a new way to study the specialty structure of science. They may provide a new approach to indexing and to the creation of SDI profiles. We propose a new approach to instrument recognition in the context of real music orchestrations ranging from solos to quartets. The strength of our approach is that it does not require prior musical source separation. Thanks to a hierarchical clustering algorithm exploiting robust probabilistic distances, we obtain a taxonomy of musical ensembles which is used to efficiently classify possible combinations of instruments played simultaneously. Moreover, a wide set of acoustic features is studied including some new proposals. In particular, signal to mask ratios are found to be useful features for audio classification. This study focuses on a single music genre (i.e., jazz) but combines a variety of instruments among which are percussion and singing voice. Using a varied database of sound excerpts from commercial recordings, we show that the segmentation of music with respect to the instruments played can be achieved with an average accuracy of 53 . Abstract This article presents a probabilistic model of polyphonic music analysis. Taking a note pattern as input, the model combines three aspects of symbolic music analysis—metrical analysis, harmonic analysis, and stream segregation—into a single process, allowing it to capture the complex interactions between these structures. The model also yields an estimate of the probability of the note pattern itself; this has implications for the modelling of music transcription. I begin by describing the generative process that is assumed and the analytical process that is used to infer metrical, harmonic, and stream structures from a note pattern. I then present some tests of the model on metrical analysis and harmonic analysis, and discuss ongoing work to integrate the model into a transcription system. This paper provides a progress report on ICSI s Meeting Project, including both the data collected and annotated as part of the pro-ject, as well as the research lines such materials support. We include a general description of the official ICSI Meeting Corpus , as currently available through the Linguistic Data Consortium, discuss some of the existing and planned annotations which augment the basic transcripts provided there, and describe several research efforts that make use of these materials. The corpus supports wide-ranging efforts, from low-level processing of the audio signal (including automatic speech transcription, speaker tracking, and work on far-field acoustics) to higher-level analyses of meeting structure, content, and interactions (such as topic and sentence segmentation, and automatic detection of dialogue acts and meeting hot spots ). Classification of musical genres gives a useful measure of similarity and is often the most useful descriptor of a musical piece. Previous techniques to use hidden Markov models (HMMs) for automatic genre classification have used a single HMM to model an entire song or genre. This paper provides a framework to give finer segmentation of HMMs through acoustic segment modeling. Modeling each of these acoustic segments with an HMM builds a timbral dictionary in the same fashion that one would create a phonetic dictionary for speech. A symbolic transcription is created by finding the most likely sequence of symbols. These transcriptions then serve as inputs into an efficient text classifier utilized to provide a solution to the genre classification problem. This paper demonstrates that language-ignorant approaches provide results that are consistent with the current state-of-the-art for the genre classification problem. However, the finer segmentation potentially allows for “musical language”-based syntactic rules to enhance performance. Purpose – The purpose of this paper is to suggest an alternative to the widely used Times Cited criterion for analysing citation networks. The approach involves taking account of the natures of the papers that cite a given paper, so as to differentiate between papers that attract the same number of citations.Design methodology approach – ArticleRank is an algorithm that has been derived from Google's PageRank algorithm to measure the influence of journal articles. ArticleRank is applied to two datasets – a citation network based on an early paper on webometrics, and a self‐citation network based on the 19 most cited papers in the Journal of Documentation – using citation data taken from the Web of Knowledge database.Findings – ArticleRank values provide a different ranking of a set of papers from that provided by the corresponding Times Cited values, and overcomes the inability of the latter to differentiate between papers with the same numbers of citations. The difference in rankings between Times Cited ...