Hasil untuk "Music"

Annika Briegleb, Walter Kellermann

Abstract Mask-based multichannel speech enhancement methods based on artificial neural networks estimate a mask that is applied to the multichannel input signal or a reference channel to obtain the estimated desired signal. For the estimation, both spectral and spatial cues from the multichannel input can be used. However, the interplay of the two inside the neural network is typically unknown. In this contribution, we propose a framework to analyze neural spatiospectral filters (NSSFs) with respect to their capabilities to extract and represent spatial information. We explicitly take the characteristics of the training target signal into account and analyze its effect on the functionality of the NSSF. Using two conceptually different NSSFs as example, we show that not all NSSFs use spatial information under all circumstances and that the training target signal has a significant influence on the spatial filtering behavior of an NSSF. These insights help to assess the signal processing capabilities of neural networks and allow to make informed decisions when configuring, training, and deploying NSSFs.

Christof Weiß, Vlora Arifi-Müller, Michael Krause et al.

This paper introduces the Wagner Ring Dataset (WRD), a multi-modal and multi-version resource on the large-scale opera cycle Der Ring des Nibelungen by Richard Wagner. The Ring comprises four music dramas organized into eleven acts and 21 939 measures in total. Concerning sheet music, we processed a publicly available piano reduction (822 pages) of the full score with optical music recognition followed by extensive manual corrections to create a high-quality, machine-readable symbolic score. Concerning audio data, our corpus covers 16 recorded performances of the full Ring (three of which are publicly available thanks to copyright expiry), each lasting about 14–15 hours. To musically synchronize these versions among each other, we manually annotated all measure positions for three performances, which we transferred to the remaining performances via automated synchronization techniques. The dataset further comprises annotations of key and time signatures, scenes, and singing voice regions (libretto). Moreover, we provide note event annotations for all performances derived from the piano score. The WRD thus constitutes a comprehensive resource for developing algorithms for various music information retrieval tasks, complementing existing datasets with a complex opera scenario. For computational musicology, the WRD serves as a structured dataset that allows for studying the composition and performances of the Ring.

Abhisek Sahoo, Prashant Tayade, Ratna Sharma et al.

L. Bonetti, S.E.P. Bruzzone, T. Paunio et al.

Auditory predictive processing relies on a complex interaction between environmental, neurophysiological, and genetic factors. In this view, the mismatch negativity (MMN) and intensive training on a musical instrument for several years have been used for studying environment-driven neural adaptations in audition. In addition, brain-derived neurotrophic factor (BDNF) has been shown crucial for both the neurogenesis and the later adaptation of the auditory system. The functional single-nucleotide polymorphism (SNP) Val66Met (rs6265) in the BDNF gene can affect BDNF protein levels, which are involved in neurobiological and neurophysiological processes such as neurogenesis and neuronal plasticity. In this study, we hypothesised that genetic variation within the BDNF gene would be associated with different levels of neuroplasticity of the auditory cortex in 74 musically trained participants. To achieve this goal, musicians and non-musicians were recruited and divided in Val/Val and Met- (Val/Met and Met/Met) carriers and their brain activity was measured with magnetoencephalography (MEG) while they listened to a regular auditory sequence eliciting different types of prediction errors. MMN responses indexing those prediction errors were overall enhanced in Val/Val carriers who underwent intensive musical training, compared to Met-carriers and non-musicians with either genotype. Although this study calls for replications with larger samples, our results provide a first glimpse of the possible role of gene-regulated neurotrophic factors in the neural adaptations of automatic predictive processing in the auditory domain after long-term training.

Sohei Itahara, Sota Kondo, Kota Yamashita et al.

In this study, we experimentally validated the possibility of estimating the angle of departure (AoD) using multiple signal classification (MUSIC) with only WiFi control frames for beamforming feedback (BFF), defined in IEEE 802.11ac/ax. The examined BFF-based MUSIC is a model-driven algorithm that does not require a pre-obtained database. This is in contrast with most existing BFF-based sensing techniques, which are data-driven and require a pre-obtained database. Moreover, BFF-based MUSIC affords an alternative AoD estimation method without requiring access to the channel state information (CSI). Extensive experimental and numerical evaluations demonstrate that BFF-based MUSIC can successfully estimate the AoDs for multiple propagation paths. Moreover, the evaluations performed in this study reveal that BFF-based MUSIC, where BFF is a highly compressed version of CSI in IEEE 802.11ac/ax, achieves an error of AoD estimation that is comparable to that of CSI-based MUSIC.

Gui-Xin Shi, Wei-Qiang Zhang, Guan-Bo Wang et al.

Abstract Many end-to-end approaches have been proposed to detect predefined keywords. For scenarios of multi-keywords, there are still two bottlenecks that need to be resolved: (1) the distribution of important data that contains keyword(s) is sparse, and (2) the timestamps of the detected keywords are inaccurate. In this paper, to alleviate the first issue and further improve the performance of the end-to-end ASR front-end, we propose the biased loss function for guiding the recognizer to pay more attention to the speech segments containing the predefined keywords. As for the second issue, we solve this problem by modifying the force alignment applied to the end-to-end ASR front-end. To get the frame-level alignment, we utilize a Gaussian Mixture Model-Hidden Markov Model (GMM-HMM) based acoustic model (AM) for auxiliary. The proposed system is evaluated in the OpenSAT20 held by the National Institute of Standards and Technology (NIST). The performance of our end-to-end KWS system is comparable to the conventional hybrid KWS system, sometimes even slightly better. With fusion results of the end-to-end and conventional KWS systems, we won the first prize in the KWS track. On the dev dataset (a part of SAFE-T corpus), the system outperforms the baseline by a large margin, i.e., our system with GMM-HMM aligner has a lower segmentation-aware word error rates (relatively 7.9–19.2% decrease) and higher overall Actual term-weighted values (relatively 3.6–11.0% increase), which demonstrates the effectiveness of the proposed method. For more precise alignments, we can use DNN-based AM as alignmentor at the cost of more computation.

André Luiz Rocha Mattos Caviola

Resumo: O presente artigo consiste no estudo das correspondências de Jorge Mori e Flávio Shiró Tanaka recebidas pelo artista Inimá de Paula (1918 - 1999) entre os anos de 1952 e 1957. Tais documentos foram doados pelo próprio artista em 1998, no ato da criação da Fundação Inimá de Paula, instituição destinada à preservação e divulgação de sua memoria A partir do estudo do escopo documental acima descrito, objetiva-se identificar uma fração da construção subjetiva entre artista e obra enquanto projeto poético. Palavras-Chave: Inimá de Paula; Projeto Poético; Modernismo; Correspondence to Inimá: 1952 - 1957 Impressions and Experiences in the Construction of Inimá Artistic Sensibility Abstract: This article consists of studying the correspondence of Jorge Mori and Flávio Shiró Tanaka received by the artist Inimá de Paula (1918 - 1999) between the years 1952 and 1957. These documents were donated by the artist himself in 1998, at the time of creation Fundação Inimá de Paula, an institution dedicated to the preservation and dissemination of his artistic work. From the study of the documentary scope described above, the objective is to identify a fraction of the subjective construction between artist and work as a poetic project. Keywords: Inimá de Paula; Poetic Project; Modernism Recebido em: 20/12/2020 – Aceito em 02/02/2021

Cristina RADU-GIURGIU

In a postmodern world where creative, aesthetic and social patterns are constantly reshaped or radically changed – a conservative, traditionalist view of lyrical performance can easily be categorized by some contemporary audiences as outdated and irrelevant. It is still possible that the opera, in its old costumes, to communicate any more interesting content – to modern man? This has been the dilemma of many opera directors who in the twentieth century changed their approach and often produced shocking performances for the public. The question remains open to the creators of the 21st century, the world of opera receiving more and more versions of shows that challenges the public with provocative solutions. Rezumat. REGIETHEATER - MAREA PROVOCARE PENTRU OPERA TIMPURILOR NOASTRE. Într-o lume postmodernă, în care modelele creative, estetice și sociale sunt în mod constant remodelate sau radical schimbate - o viziune conservatoare, tradiționalistă asupra spectacolului liric poate fi ușor catalogată de unele audiențe contemporane ca fiind depășită și irelevantă. Este încă posibil ca opera, în costumele sale vechi, să mai comunice vreun conținut interesant - pentru omul modern? Aceasta a fost dilema multor regizori de operă care, în secolul XX, și-au schimbat abordarea și au produs adesea spectacole șocante pentru public. Întrebarea rămâne deschisă pentru creatorii secolului XXI, lumea operei primind tot mai multe versiuni de spectacole care provoacă publicul cu soluții provocatoare. Cuvinte-cheie: Regietheater, operă, scene moderne, secolul XX

Hohmann Volker

Many speech and music analysis and processing schemes rely on an estimate of the fundamental frequency f0 of periodic signal components. Most established schemes apply rather unspecific signal models such as sinusoidal models to the estimation problem, which may limit time resolution and estimation accuracy. This study proposes a novel time-domain locked-loop algorithm with low computational effort and low memory footprint for f0 estimation. The loop control signal is directly derived from the input time signal, using a harmonic signal model. Theoretically, this allows for a noise-robust and rapid f0 estimation for periodic signals of arbitrary waveform, and without the requirement of a prior frequency analysis. Several simulations with short signals employing different types of periodicity and with added wide-band noise were performed to demonstrate and evaluate the basic properties of the proposed algorithm. Depending on the Signal-to-Noise Ratio (SNR), the estimator was found to converge within 3–4 signal repetitions, even at SNR close to or below 0 dB. Furthermore, it was found to follow fundamental frequency sweeps with a delay of less than one period and to track all tones of a three-tone musical chord signal simultaneously. Quasi-periodic sounds with shifted harmonics as well as signals with stochastic periodicity were robustly tracked. Mean and standard deviation of the estimation error, i.e., the difference between true and estimated f0, were at or below 1 Hz in most cases. The results suggest that the proposed algorithm may be applicable to low-delay speech and music analysis and processing.

Claus Tieber, Christina Wintersteller

Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of<b> </b>intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instructions and motivations for diegetic musical performances. However, not only music itself, but also music as a subject matter can be found in these screenplays, as part of the dialogue or instructions for the mis-en-sc&#232;ne. The work of Austrian screenwriter and director Walter Reisch (1903&#8722;1983) will serve as a case study to discuss various forms of self-reflexivity in the context of genre studies, screenwriting studies and the early sound film. Different forms and categories of self-referential uses of music in Reisch&#8217;s work will be examined and contextualized within early sound cinema in Austria and Germany in the 1930s. The results of this investigation suggest that Reisch&#8217;s early screenplays demonstrate that the amount of self-reflexivity in early Austro-German music films is closely connected to music. Self-referential devices were closely connected to generic conventions during the formative years and particularly highlight characteristics of Reisch&#8217;s writing style. The relatively early emergence of self-reflexive and &#8220;self-conscious&#8221; moments of music in film already during the silent period provides a perfect starting point to advance discussions about the musical discourse in film, as well as the role and functions of screenplays and screenwriters in this context.

Mangin, Dee, Lawson, Jennifer, Adamczyk, Krzysztof et al.

BackgroundElectronic medical record (EMR) chronic disease measurement can help direct primary care prevention and treatment strategies and plan health services resource management. Incomplete data and poor consistency of coded disease values within EMR problem lists are widespread issues that limit primary and secondary uses of these data. These issues were shared by the McMaster University Sentinel and Information Collaboration (MUSIC), a primary care practice-based research network (PBRN) located in Hamilton, Ontario, Canada. ObjectiveWe sought to develop and evaluate the effectiveness of new EMR interface tools aimed at improving the quantity and the consistency of disease codes recorded within the disease registry across the MUSIC PBRN. MethodsWe used a single-arm prospective trial design with preintervention and postintervention data analysis to assess the effect of the intervention on disease recording volume and quality. The MUSIC network holds data on over 75,080 patients, 37,212 currently rostered. There were 4 MUSIC network clinician champions involved in gap analysis of the disease coding process and in the iterative design of new interface tools. We leveraged terminology standards and factored EMR workflow and usability into a new interface solution that aimed to optimize code selection volume and quality while minimizing physician time burden. The intervention was integrated as part of usual clinical workflow during routine billing activities. ResultsAfter implementation of the new interface (June 25, 2017), we assessed the disease registry codes at 3 and 6 months (intervention period) to compare their volume and quality to preintervention levels (baseline period). A total of 17,496 International Classification of Diseases, 9th Revision (ICD9) code values were recorded in the disease registry during the 11.5-year (2006 to mid-2017) baseline period. A large gain in disease recording occurred in the intervention period (8516/17,496, 48.67% over baseline), resulting in a total of 26,774 codes. The coding rate increased by a factor of 11.2, averaging 1419 codes per month over the baseline average rate of 127 codes per month. The proportion of preferred ICD9 codes increased by 17.03% in the intervention period (11,007/17,496, 62.91% vs 7417/9278, 79.94%; χ21=819.4; P<.001). A total of 45.03% (4178/9278) of disease codes were entered by way of the new screen prompt tools, with significant increases between quarters (Jul-Sep: 2507/6140, 40.83% vs Oct-Dec: 1671/3148, 53.08%; χ21=126.2; P<.001). ConclusionsThe introduction of clinician co-designed, workflow-embedded disease coding tools is a very effective solution to the issues of poor disease coding and quality in EMRs. The substantial effectiveness in a routine care environment demonstrates usability, and the intervention detail described here should be generalizable to any setting. Significant improvements in problem list coding within primary care EMRs can be realized with minimal disruption to routine clinical workflow.

Nijat Pashayev

Мета дослідження полягає у вивченні мугам дестґях, виявленні однойменних розділів мугаму та вивченні шляхів їх застосування. Основною метою дослідження є аналіз питань модуляції та орієнтації в композиційній структурі мугам. Методологія дослідження. Дослідження базується на методі теоретичного та порівняльного аналізу. Водночас загальнотеоретичні принципи етномузикології, науково-теоретичні концепції, розроблені в дослідженнях видатних азербайджанських та зарубіжних музикознавців, важливі як методологічна основа. Результати. Вивчення використання однойменних розділів у мугам дестґях виявляє різноманітність методів їх застосування. Немало розділів, що використовуються в мугам дестґях, мають подвійну природу. З іншого боку, цей розділ є частиною інших мугам на базі макам і важливий для модуляції до нового макаму. У спадщині мугамів кілька однойменних розділів використовуються в складі різних мугам, мають значення переходу від одного макаму до іншого в ланцюговій структурі дестґях та слугують для розвитку композиційної структури. Отже, немало секцій мугамів посідають особливе місце як в одних і тих самих мугамах на базі макам, так і в різних мугам дестґях на базі макам. Усі вони обґрунтовують взаємозв’язки мугам, які мають свої структурні особливості. Новизна. Це перша спроба зрозуміти, що вивчення використання однойменних розділів у мугам дестґях виявляє різноманітність методів їх застосування. Практичне значення. Інформація, що міститься в цій статті, може бути корисною для студентів, учених, дослідників азербайджанської музикознавчої науки.

Nicole Henares

The petenera is part of the most jondo of flamenco and it offers a lens into the ways the history of Al-Andalus’s 800 years of tolerance and the violence of the Inquisition are always swirling around us. Discovering the recording of a petenera recorded by my great-aunt and uncle has allowed for me a lens into their history, the history of my family, and the invisible immigrants who emigrated not so legally via Hawaii’s sugar plantations. In 1912, my great-aunt and uncle were among the “human freight” that came from Andalusia to work on the Hawaiian sugar plantations. My Uncle Jose was a migrant worker. He was never a professional flamenco singer. Singing flamenco helped him find peace and cope with what we know now was PTSD but then was called “schizophrenia.” My aunt and my uncle recorded a petenera shortly after they became American citizens. In 1924 the United States started an immigration quota on Spain, declared it a “shithole country” that was sending over only anarchists and deviants. In 1953 the Rosenburgs were executed and the United States made a deal with Franco to have a naval base at Ronda. I do not know which of these events most influenced the recording of this song, or my Aunt and Uncle finally being able to become citizens. Looking at this history offers a warning and an encouragement: We need more cultural pluralism instead of cultural puritanism, and we need more empathy- especially when it comes to immigration, and trying to imagine a world sin fronteras.

Manuel Ángel Calahorro Arjona

La música flamenca, con marcada raíz popular y tradicionalmente aprendida en ámbitos diferentes a los académicos, ha utilizado unos mecanismos de transmisión que otorgan una especial importancia a la oralidad por encima de la escritura. Desde antaño, esta oralidad ha sido la espina dorsal en torno a la que se ha articulado la enseñanza y aprendizaje de un instrumento ligado íntimamente al acompañamiento del cante y del baile. Y aneja a esa práctica hay toda una serie de procedimientos tan específicos como distintivos del flamenco que precisan de un amplio dominio y desarrollo facultativo por parte del candidato a músico guitarrista de flamenco, cuestión a la que dedicaremos este estudio.

Nancy Sattler Jimenez

Jun Zhan, Xiaofei Wu, Jin Fan et al.

Previous studies have reported the failure of cognitive emotion regulation (CER), especially in regulating unpleasant emotions under stress. The underlying reason for this failure was the application of CER depends heavily on the executive function of the prefrontal cortex (PFC), but this function can be impaired by stress-related neuroendocrine hormones. This observation highlights the necessity of developing self-regulatory strategies that require less top-down cognitive control. Based on traditional Chinese philosophy and medicine, which examine how different types of emotions promote or counteract one another, we have developed a novel emotion regulation strategy whereby one emotion is used to alter another. For example, our previous experiment showed that sadness induction (after watching a sad film) could reduce aggressive behavior associated with anger [i.e., “sadness counteracts anger” (SCA)] (Zhan et al., 2015). Relative to the CER strategy requiring someone to think about certain cognitive reappraisals to reinterpret the meaning of an unpleasant situation, watching a film or listening to music and experiencing the emotion contained therein seemingly requires less cognitive effort and control; therefore, this SCA strategy may be an alternative strategy that compensates for the limitations of cognitive regulation strategies, especially in stressful situations. The present study was designed to directly compare the effects of the CER and SCA strategy in regulating anger and anger-related aggression in stressful and non-stressful conditions. Participants’ subjective feeling of anger, anger-related aggressive behavior, skin conductance, and salivary cortisol and alpha-amylase levels were measured. Our findings revealed that acute stress impaired one’s ability to use CR to control angry responses provoked by others, whereas stress did not influence the efficiency of the SCA strategy. Compared with sadness or neutral emotion induction, CER induction was found to reduce the level of subjective anger more, but this difference only existed in non-stressful conditions. By contrast, irrespective of stress, the levels of aggressive behavior and related skin conductance after sadness induction were both significantly lower than those after CER induction or neutral emotion induction, thus suggesting the immunity of the regulatory effect of SCA strategy to the stress factor.

Aslı Özçevik, Zerhan Yüksel Can

Developing since the early 1920s, the discipline of room acoustics has made important strides in correlating subjective and objective, or measurable, values for music rooms. By means of much research done throughout this period, internationally accepted objective and subjective parameters and optimum values for these have been determined for rooms in which distinct forms of music, such as Baroque, Classical, Romantic and Operatic are produced. This information, in combination with experience gained in existing halls of music, has allowed for the establishment of a set of design principles for architectural acoustics. On the other hand, little, if any, research has been done that would lead to the creation of such parameters for Turkish Melodic Music, a form of music entirely different from Western Music in terms of both structure and the rooms in which it is produced. The purpose of the interdisciplinary research project entitled 'An evaluation of the parameters for room acoustics in rooms used for Turkish melodic music' was twofold: to research the effectiveness of existing room acoustics parameters for this music, and to propose specific values for a set of objective parameters to be used in the architectural design of such rooms. The project firstly researched and determined the rooms used for Turkish melodic music in Istanbul, the type of music produced in them, and the rhythms, instruments, player numbers etc. involved. The architectural and acoustic characteristics of the rooms were studied and the results evaluated with experienced musicians. Finally, a proposal was made for parameters for acoustics and their optimum values for the rooms. This article aimed to briefly explain the studies implemented based on the methodology of the research and to present the findings.

Terry D. Bilhartz, R. Bruhn, Judith E. Olson

Gavin M Bidelman, Stefanie Hutka, Sylvain Moreno

Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.

A. Friberg, J. Sundberg