Relevant bibliographies by topics / Polyphoic music

Academic literature on the topic 'Polyphoic music'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Polyphoic music"

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Pivtoratska, Lesia. "Verbal-textual polyphonic technique in the Ukrainian choral music (on the example of music on Taras Shevchenko’s poetry)." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 152–65. http://dx.doi.org/10.31318/2522-4190.2021.132.249998.

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Relevance of the study. In the 20th–21st centuries, searches in the field of sonoristics led to an unconventional interpretation of the sound of musical instruments and the human voice. As a result, contemporary composers are actively experimenting with vocal performance techniques. The timbresonorous quality of speech contributes to the emergence of new polyphonic techniques. The use of verbal-textual polyphonic techniques in the music of modern Ukrainian composers is becoming more and more widespread. This explains the relevance of this study. The scientific basis of the article is the insufficiently studied concept of verbal-textual polyphony by I. B. Pyaskovsky. Main objective of the study. The objective of this study is to examine the existing manifestations of verbal-textual polyphonic technique in Ukrainian choral music a cappella on the example of works based on the texts of the poetic cycle “Psalms of David” by T. Shevchenko. The scientific novelty lies in the fact that the work is the first to consider verbal-textual polyphonic techniques in the works of Ukrainian composers on the texts of “Psalms of David” by T. Shevchenko. Methodology. The following methods of research are used: versioning (analysis of the versification features of the original poetic source), semantic (interpretation of the semantic content of the musical expressiveness means, their correlation with the text), typological (based on classification of the varieties of the studied technique). Results and conclusions. The main feature of verbal textual polyphony is the phonic interpretation of speech. This type of polyphonic technique is manifested in the work with text phonemes and syntagmas, which, as a rule, have intonation-rhythmic design. The prerequisites for this type of polyphony in musical works based on the texts of T. Shevchenko are the musicality of his poetry, as well as a specific rhythmic organization — the so-called 14-syllabic kolomijka verse. All examples of this writing technique can be divided into two groups, depending on the compositional work at the phonemic or syntagmatic levels. Phonemic compositional work is carried out by segmentation, vocal accentuation and temporal extension of the sound of the syllable. Work at the syntagmatic level is embodied using the following techniques: simultaneous multi-rhythmic presentation of the same text, text imitation, ostinato, polyphonic techniques of vocal intonation on a verbal and extra-musical basis. The analysis carried out indicates that the polyphonic technique in the studied works of Ukrainian composers is formed taking into account the versification features of the Shevchenko's poetry. The results of these observations can be used in the study of the manifestations of verbal textual polyphony in vocal-choral works on a different text basis
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Krasovskaya, Elena P., and Ho Da. "Pedagogical Approaches to Mastering Polyphonic Cycles by J. S. Bach and D. D. Shostakovich in the Piano Class by Students of the People’s Republic of China." Musical Art and Education 7, no. 3 (2019): 105–25. http://dx.doi.org/10.31862/2309-1428-2019-7-3-105-125.

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In the article the problems of mastering the binary cycles by J. S. Bach and D. D. Shostakovich included in large-scale polyphonic collections of the composers (“Well-Tempered Clavier” and “Twenty-Four Preludes and Fugues”, opus 87) by the Chinese piano students are considered. It is shown that these problems are caused by the features of the Chinese system of music education based on the characteristic features of national culture (monodiality, the dominant role of the pentatonic-modal system, the intonation dictionary and the logic of the deployment of content, fundamentally different from the European interpretation) and also by a low level of theoretical knowledge of students about polyphonic music and the traditions of its interpretation. According to the authors, an important step to understanding and professional interpreting the polyphonic heritage of the composers by Chinese students may be the intonation, civilized and paradigm-pedagogical approaches. The consistent transition from national patterns of polyphony to European polyphonic works, their study through the prism of the proposed pedagogical approaches allowed students to understand the phenomenon of polyphony in the musical art, to trace traditions and innovations in it. This has a positive effect on mastering polyphonic opuses by students.
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Chunghsin Yeh, Axel Roebel, and Xavier Rodet. "Multiple Fundamental Frequency Estimation and Polyphony Inference of Polyphonic Music Signals." IEEE Transactions on Audio, Speech, and Language Processing 18, no. 6 (August 2010): 1116–26. http://dx.doi.org/10.1109/tasl.2009.2030006.

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Luyken, Lorenz. "Ende von Anfang an Wege zu György Ligetis San Francisco Polyphony." Studia Musicologica 57, no. 1-2 (June 2016): 91–104. http://dx.doi.org/10.1556/6.2016.57.1-2.7.

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György Ligeti’s comments on his last large orchestral piece San Francisco Polyphony show a remarkable understatement, if not neglect, of this work. This paper intends to find reasons for this attitude. It analyzes the correlation between title and substance, in particular the description of the work as being polyphonic, showing that the piece is less polyphonic than it is melodic or even thematic, resulting from coherent stylistic development as well as from an innate spatial conception rather than from a switchback to 19th-century procedures. At the end, San Francisco Polyphony proves to be a very personal comment on the state of the post-war musical avant-garde and the discussion about postmodernism in music.
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Koshkareva, Natalya Vladimirovna. "Choral polyphony in M. Mussorgsky 's operas." Человек и культура, no. 4 (April 2022): 1–11. http://dx.doi.org/10.25136/2409-8744.2022.4.38588.

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The purpose of this article is to study polyphonic techniques in the opera choirs of M. Mussorgsky. The question is raised about the identity of M. Mussorgsky's polyphonic thinking from the point of view of the free refraction of the forms and techniques of writing Western European polyphony in it. The subject of the study are choirs from the operas "Boris Godunov" and "Khovanshchina". Through the synthesis of research methods, including musicology and choral studies, the specific features of M. Mussorgsky's polyphony are revealed. Attention is drawn to the fact that polyphony in M. Mussorgsky's operas is an extremely broad concept, consisting in the author's specificity of the manifestation of counterpoint as a general polyphonic state of all elements of figurative and musical dramaturgy. Attention is focused on the emergence of an organic trinity of sub-vocal, imitation and contrast polyphony. Based on the analysis of choral scenes, it is concluded that M. Mussorgsky's polyphonic thinking, having developed outside the mainstream of polyphonic classics and classical voice studies, significantly influenced the formation of the individual compositional style of Russian composers of subsequent centuries. The novelty of the research lies in the fact that for the first time a separate study is devoted to the choral polyphony of M. Mussorgsky, presented from the standpoint of musicology and choral studies. The author's special contribution to the disclosure of the topic is the study of choral polyphony as the main creative method of M. Mussorgsky, which is the object of special research and consists in the free refraction of forms and techniques of writing Western European polyphony in Russian music of the second half of the XIX century.
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Klempe, Sven Hroar. "Implicit polyphony: A framework for understanding cultural complexity." Culture & Psychology 24, no. 1 (July 3, 2017): 60–79. http://dx.doi.org/10.1177/1354067x17716390.

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Musical terms like ‘polyphony’ are often applied in psychology and other disciplines in a more or less metaphorical way. However, this article investigates how polyphony can be applied in a non-metaphorical manner, i.e. in the same way, as it is understood in musicology. The fundamental hypothesis is that music represents a basic capacity of the human mind, and that this has impact on other human capacities, like language. If so, this should be traceable in different ways in different cultures. To investigate this, ‘implicit polyphony’ is launched as a term that refers to music, which is melodic, but at the same time reveals a more or less hidden polyphonic structure. This musical phenomenon is demonstrated by examples from Bach and Ravel. It is demonstrated that polyphony is at the core of music, not only in Western classical music, but also African and other ethnical music. Implicit polyphony defined as two voices condensed into one is also found in Norwegian Sámi music. The latter leads to a conclusion, which says that continuity in music is related to verticality. Investigations in linguistics show that the oral use of language is highly comparable with implicit polyphony in music. The same is modernistic literature where the aim has been to turn language into music, as in parts of James Joyce’s novel Ulysses. By bringing in examples of lexical and conceptual blending, the final conclusion is that ‘implicit polyphony’ may serve as a tool for understanding the complexity in human thinking and culture.
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Song, Xiao-Yi, and Dong-Run Huang. "A Study on Digital Analysis of Bach’s “Two-Part Inventions”." Mathematical Problems in Engineering 2015 (2015): 1–6. http://dx.doi.org/10.1155/2015/560926.

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In the field of music composition, creating polyphony is relatively one of the most difficult parts. Among them, the basis of multivoice polyphonic composition is two-part counterpoint. The main purpose of this paper is, through the computer technology, conducting a series of studies on “Two-Part Inventions” of Bach, a Baroque polyphony master. Based on digitalization, visualization and mathematical methods, data mining algorithm has been applied to identify bipartite characteristics and rules of counterpoint polyphony. We hope that the conclusions drawn from the article could be applied to the digital creation of polyphony.
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Zhang, Mengzhe. "POLYPHONIC GENRES IN PIANO CREATIVITY OF CHINESE COMPOSERS." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 148–65. http://dx.doi.org/10.34064/khnum2-24.08.

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Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.
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Zhang, Mengzhe. "Rao Yuyan’s polyphonic works for piano in terms of performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 201–23. http://dx.doi.org/10.34064/khnum1-61.11.

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Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works of the composer are considered in the aspect of performance realization. The purpose of the study is to determine the most important performance principles and set of performance tasks in Rao Yuyan’s polyphonic works for piano. The article bases on Rao Yuyan’s piano works “Introduction and Fugue” (1956), the suite “Sketch of Life in Yan’an” (1963), “Prelude, Fugue and Chorale” (1964) and “Three Polyphonic Pieces on the Ancient Music of Chang An” (1992). The article uses historicaltypological, structural-functional, comparative, intonation and interpretative methods as necessary for performance analysis. The fundamental theoretical positions of Chinese polyphonic musicians (Su Xia, Ding Shande, Chen Mingzhi, Duan Pintai and others) uses, and Rao Yuyan’s theoretical works devoted to polyphony has particular importance. The issues of pianistic realization takes in account the polyphonic principles considered by Ying Jiang, Bai E. Results and conclusions of the research. RaoYuyan’s beautiful piano works have a great art value, they became a significant contribution to Chinese art of the 20 century. We can even define Rao Yuyan’s role as a creator of national polyphony who modernized the ancient national musical legacy. Rao Yuyan’s piano works discussed in this article use almost all known types of polyphonic techniques of Western music. The vividly example of it is the double fugue from the cycle “Prelude, Fugue and Chorale” or the last number “Weeping Willow” from the series “Three Polyphonic Pieces on the Themes of Chang An Ancient Music”, where the sort of “cantus firmus” technique – “basso ostinato” is used. In the piece “Sunrise” from the piano suite “Sketch of the Life of Yan’an” the polyphonic texture becomes almost like to consonant sonority. At the same time, the laconic themes used in the Suite call upon the thought that J. S. Bach was a spiritual teacher of the composer. However, the composer borrows his main ideas from the Chinese folk musical tradition. Rao Yuyan was well versed in traditional fugue techniques, however, in the cycles “Introduction and Fugue” and “Prelude, Fugue and Chorale” he included the local national musical elements to emphasize their cultural identity. Among the main pianistic tasks facing the performer of polyphonic works of Rao Yuyan – the development of clear auditory attention, the idea of the general form of the work. The auditory sense of the work controls the sound, covers both the whole and individual details of the polyphonic form. It not only controls the performance, but also takes an active part in the birth of the artistic way of playing polyphony. Breathing emphasizes the essence of polyphonic development, which consists in the continuity and fluidity of melodic lines through the relief introduction and plastic completion of individual polyphonic voices.
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Markschies, Christoph. "Polyphonic Theology of the Fathers/polyphone Theologie der Kirchenväter. Bemerkungen zu einem Konzept und seiner Brauchbarkeit." Evangelische Theologie 79, no. 5 (September 1, 2019): 329–42. http://dx.doi.org/10.14315/evth-2019-790504.

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AbstractThe contribution is presenting a new focus on the development of Christian theology in Antiquity: the idea of a polyphonic theology of the Fathers. This idea uses the term ›polyphony‹, well established in music theory and in certain forms of Literary criticism and Biblical theology, to describe a certain structured plurality in the concepts of certain individual ancient theologians and in the overall design of Christian theology in Antiquity. The first part gives certain details about the term ›polyphony‹ used to describe forms of thinking, like polyphony in music consists of two or more lines of melody of certain independence (opposed to homophony), the second part asks which new insights one can get using the new idea to analyze ancient Christian literature and the third part deals with certain problems of the approach.
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Dissertations / Theses on the topic "Polyphoic music"

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Francis, Kelly Anne. "Attention and Polyphonic Music." UNIVERSITY OF ROCHESTER, 2012. http://pqdtopen.proquest.com/#viewpdf?dispub=3478289.

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Efraimsson, Nils. "Onset detection in polyphonic music." Thesis, KTH, Tal, musik och hörsel, TMH, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210417.

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In music analysis, the beginning of events in a music signal (i.e. sound onset detection) is important for such tasks as sound segmentation, beat recognition and automatic music transcription. The aim of the present work was to make an algorithm for sound onset detection with better performance than other state-of-the-art1 algorithms. Necessary theoretical background for spectral analysis on a sound signal is given with special focus on the Short-Time Fourier Transform (STFT) and the effects of applying a window to a signal. Previous works based on different approaches to sound onset detection were studied, and a possible improvement was observed for one such approach - namely the one developed by Bello, Duxbury, Davies, & Sandler (2004). The algorithm uses an STFT approach, analyzing a sound signal time frame by time frame. The algorithm’s detection is sequential in nature: It takes a frame from the STFT and makes an extrapolation to the next frame, assuming that the signal is constant. The difference between the extrapolated frame and the actual frame of the STFT constitutes the detection function. The proposed improvement lies in a combination of ideas from other algorithms, analyzing the signal with different frequency bands with frequency dependent settings and a modification of the extrapolation step. The proposed algorithm is compared to the original algorithm and an adaption by Dixon (2006) by analyzing 20 songs using three different window functions. The results were evaluated with the standards set by MIREX (2005-2016). The results of the proposed algorithm are encouraging, showing good recall, but fail to out-perform any of the algorithms it is compared to in both precision and the so-called F-measure. The shortcomings of the proposed algorithm leave room for further improvement, and a number of possible future modifications are exemplified.
Ansatsdetektion används inom musikanalys för bland annat automatisk transkription och ljudkomprimering. Ansatsdetektion innebär att lokalisera en händelse i en musiksignal. Med målet att utveckla en algoritm som presterar bättre än aktuella2 algoritmer ges här en genomgång av några nödvändiga teoretiska kunskaper i ämnet, bland annat korttids-Fouriertransformen (STFT) och hur fönsterfunktioner påverkar signalbehandling. Tidigare arbeten inom ansatsdetektion med olika infallsvinklar studeras och en möjlig förbättring av en av dem, den av Bello, Duxbury, Davies, & Sandler (2004), framträder. Algoritmen använder sig av STFT och analyserar ljudsignaler en tidsenhet i taget. Utifrån varje analyserad tidsenhet görs en extrapolation till nästa tidsenhet genom antagandet att signalen är konstant. Skillnaden mellan den extrapolerade tidsenheten och den faktiska tidsenheten i STFTn utgör detektionsfunktionen. Den möjliga förbättringen består i att använda idéer från olika algoritmer för ansatsdetektion – ljudsignalen analyseras i olika frekvensband med bandberoende inställningar för STFTn – och en förändrad extrapoleringsfunktion. Den föreslagna algoritmen jämförs med originalet av Bello, Duxbury, Davies, & Sandler (2004) och även med en variant utvecklad av Dixon (2006) genom att applicera dem på 20 spår med tre olika fönsterfunktioner. Resultaten utvärderas enligt MIREX (2005-2016) standarder och är lovande för algoritmen, då den har en bra träffbild, men både träffsäkerhet och F-värde ligger under de båda andra. Ett flertal möjliga förbättringar av algoritmen iakttas och presenteras.
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Duxbury, Christopher. "Signal models for polyphonic music." Thesis, Queen Mary, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415075.

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Salamon, Justin J. "Melody extraction from polyphonic music signals." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/123777.

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Music was the first mass-market industry to be completely restructured by digital technology, and today we can have access to thousands of tracks stored locally on our smartphone and millions of tracks through cloud-based music services. Given the vast quantity of music at our fingertips, we now require novel ways of describing, indexing, searching and interacting with musical content. In this thesis we focus on a technology that opens the door to a wide range of such applications: automatically estimating the pitch sequence of the melody directly from the audio signal of a polyphonic music recording, also referred to as melody extraction. Whilst identifying the pitch of the melody is something human listeners can do quite well, doing this automatically is highly challenging. We present a novel method for melody extraction based on the tracking and characterisation of the pitch contours that form the melodic line of a piece. We show how different contour characteristics can be exploited in combination with auditory streaming cues to identify the melody out of all the pitch content in a music recording using both heuristic and model-based approaches. The performance of our method is assessed in an international evaluation campaign where it is shown to obtain state-of-the-art results. In fact, it achieves the highest mean overall accuracy obtained by any algorithm that has participated in the campaign to date. We demonstrate the applicability of our method both for research and end-user applications by developing systems that exploit the extracted melody pitch sequence for similarity-based music retrieval (version identification and query-by-humming), genre classification, automatic transcription and computational music analysis. The thesis also provides a comprehensive comparative analysis and review of the current state-of-the-art in melody extraction and a first of its kind analysis of melody extraction evaluation methodology.
La industria de la música fue una de las primeras en verse completamente reestructurada por los avances de la tecnología digital, y hoy en día tenemos acceso a miles de canciones almacenadas en nuestros dispositivos móviles y a millones más a través de servicios en la nube. Dada esta inmensa cantidad de música al nuestro alcance, necesitamos nuevas maneras de describir, indexar, buscar e interactuar con el contenido musical. Esta tesis se centra en una tecnología que abre las puertas a nuevas aplicaciones en este área: la extracción automática de la melodía a partir de una grabación musical polifónica. Mientras que identificar la melodía de una pieza es algo que los humanos pueden hacer relativamente bien, hacerlo de forma automática presenta mucha complejidad, ya que requiere combinar conocimiento de procesado de señal, acústica, aprendizaje automático y percepción sonora. Esta tarea se conoce en el ámbito de investigación como “extracción de melodía”, y consiste técnicamente en estimar la secuencia de alturas correspondiente a la melodía predominante de una pieza musical a partir del análisis de la señal de audio. Esta tesis presenta un método innovador para la extracción de la melodía basado en el seguimiento y caracterización de contornos tonales. En la tesis, mostramos cómo se pueden explotar las características de contornos en combinación con reglas basadas en la percepción auditiva, para identificar la melodía a partir de todo el contenido tonal de una grabación, tanto de manera heurística como a través de modelos aprendidos automáticamente. A través de una iniciativa internacional de evaluación comparativa de algoritmos, comprobamos además que el método propuesto obtiene resultados punteros. De hecho, logra la precisión más alta de todos los algoritmos que han participado en la iniciativa hasta la fecha. Además, la tesis demuestra la utilidad de nuestro método en diversas aplicaciones tanto de investigación como para usuarios finales, desarrollando una serie de sistemas que aprovechan la melodía extraída para la búsqueda de música por semejanza (identificación de versiones y búsqueda por tarareo), la clasificación del estilo musical, la transcripción o conversión de audio a partitura, y el análisis musical con métodos computacionales. La tesis también incluye un amplio análisis comparativo del estado de la cuestión en extracción de melodía y el primer análisis crítico existente de la metodología de evaluación de algoritmos de este tipo
La indústria musical va ser una de les primeres a veure's completament reestructurada pels avenços de la tecnologia digital, i avui en dia tenim accés a milers de cançons emmagatzemades als nostres dispositius mòbils i a milions més a través de serveis en xarxa. Al tenir aquesta immensa quantitat de música al nostre abast, necessitem noves maneres de descriure, indexar, buscar i interactuar amb el contingut musical. Aquesta tesi es centra en una tecnologia que obre les portes a noves aplicacions en aquesta àrea: l'extracció automàtica de la melodia a partir d'una gravació musical polifònica. Tot i que identificar la melodia d'una peça és quelcom que els humans podem fer relativament fàcilment, fer-ho de forma automàtica presenta una alta complexitat, ja que requereix combinar coneixement de processament del senyal, acústica, aprenentatge automàtic i percepció sonora. Aquesta tasca es coneix dins de l'àmbit d'investigació com a “extracció de melodia”, i consisteix tècnicament a estimar la seqüència de altures tonals corresponents a la melodia predominant d'una peça musical a partir de l'anàlisi del senyal d'àudio. Aquesta tesi presenta un mètode innovador per a l'extracció de la melodia basat en el seguiment i caracterització de contorns tonals. Per a fer-ho, mostrem com es poden explotar les característiques de contorns combinades amb regles basades en la percepció auditiva per a identificar la melodia a partir de tot el contingut tonal d'una gravació, tant de manera heurística com a través de models apresos automàticament. A més d'això, comprovem a través d'una iniciativa internacional d'avaluació comparativa d'algoritmes que el mètode proposat obté resultats punters. De fet, obté la precisió més alta de tots els algoritmes proposats fins la data d'avui. A demés, la tesi demostra la utilitat del mètode en diverses aplicacions tant d'investigació com per a usuaris finals, desenvolupant una sèrie de sistemes que aprofiten la melodia extreta per a la cerca de música per semblança (identificació de versions i cerca per taral•larà), la classificació de l'estil musical, la transcripció o conversió d'àudio a partitura, i l'anàlisi musical amb mètodes computacionals. La tesi també inclou una àmplia anàlisi comparativa de l'estat de l'art en extracció de melodia i la primera anàlisi crítica existent de la metodologia d'avaluació d'algoritmes d'aquesta mena.
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Nunn, Douglas John Edgar. "Analysis and resynthesis of polyphonic music." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4759/.

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This thesis examines applications of Digital Signal Processing to the analysis, transformation, and resynthesis of musical audio. First I give an overview of the human perception of music. I then examine in detail the requirements for a system that can analyse, transcribe, process, and resynthesise monaural polyphonic music. I then describe and compare the possible hardware and software platforms. After this I describe a prototype hybrid system that attempts to carry out these tasks using a method based on additive synthesis. Next I present results from its application to a variety of musical examples, and critically assess its performance and limitations. I then address these issues in the design of a second system based on Gabor wavelets. I conclude by summarising the research and outlining suggestions for future developments.
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Doraisamy, Shyamala. "Polyphonic music retrieval : the N-gram approach." Thesis, Imperial College London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416027.

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Pertusa, Antonio. "Computationally efficient methods for polyphonic music transcription." Doctoral thesis, Universidad de Alicante, 2010. http://hdl.handle.net/10045/18326.

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Fung, Yiu Wai. "Wave-to-MIDI transcription of polyphonic string music /." View abstract or full-text, 2006. http://library.ust.hk/cgi/db/thesis.pl?COMP%202006%20FUNG.

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Loeffler, Dominik B. "Instrument Timbres and Pitch Estimation in Polyphonic Music." Thesis, Georgia Institute of Technology, 2006. http://hdl.handle.net/1853/10568.

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In the past decade, the availability of digitally encoded, downloadable music has increased dramatically, pushed mainly by the release of the now famous MP3 compression format (Fraunhofer-Gesellschaft, 1994). Online sales of music in the US doubled in 2005, according to a recent news article (*), while the number of files exchanged on P2P platforms is much higher, but hard to estimate. The existing and coming informational flood in digital music prompts the need for sophisticated content-based information retrieval. Query-by-Humming is a prototypical technique aimed at locating pieces of music by melody; automatic annotation algorithms seek to enable finer search criteria, such as instruments, genre, or meter. Score transcription systems strive for an abstract, compressed form of a piece of music understandable by composers and musicians. Much research still has to be performed to achieve these goals. This thesis connects essential knowledge about music and human auditory perception with signal processing algorithms to solve the specific problem of pitch estimation. The designed algorithm obtains an estimate of the magnitude spectrum via STFT and models the harmonic structure of each pitch contained in the magnitude spectrum with Gaussian density mixtures, whose parameters are subsequently estimated via an Expectation-Maximization (EM) algorithm. Heuristics for EM initialization are formulated mathematically. The system is implemented in MATLAB, featuring a GUI that provides for visual (spectrogram) and numerical (console) verification of results. The algorithm is tested using an array of data ranging from single to triple superposed instrument recordings. Its advantages and limitations are discussed, and a brief outlook over potential future research is given. (*) "Online and Wireless Music Sales Tripled in 2005"; Associated Press; January 19, 2006
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Jeon, Woojay. "Pitch detection of polyphonic music using constrained optimization." Thesis, Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/15802.

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Books on the topic "Polyphoic music"

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Bossuyt, Ignace. Flemish polyphony. Leuven: Davidsfonds, 1994.

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Račiūnaitė-Vyčinienė, Daiva. Sutartinės: Lithuanian polyphonic songs. Vilnius: VAGA Publishers, 2002.

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Amann, Jean-Pierre. Leipzig en polyphonie. Genève: Ed. Papillon, 2006.

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Losseff, Nicky. The best concords: Polyphonic music in thirteenth-century Britain. New York: Garland Pub., 1994.

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Wathey, Andrew. Manuscripts of polyphonic music: The British Isles, 1100-1400. München: G. Henle, 1993.

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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.

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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.

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Yang, Mina. California polyphony: Ethnic voices, musical crossroads. Urbana: University of Illinois Press, 2008.

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Forrest, Kelly Thomas, ed. Plainsong in the age of polyphony. Cambridge: Cambridge University Press, 1992.

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Kirkman, Andrew. The cultural life of the early polyphonic Mass: Medieval context to modern revival. Cambridge: Cambridge University Press, 2010.

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Book chapters on the topic "Polyphoic music"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Early European Polyphonic Music." In Anthology to Accompany Gateways to Understanding Music, 10–17. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-8.

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Upton, Elizabeth Randell. "Polyphonic Music in Performance." In Music and Performance in the Later Middle Ages, 67–96. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137310071_4.

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Schramm, Rodrigo. "Automatic Transcription of Polyphonic Vocal Music." In Handbook of Artificial Intelligence for Music, 715–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72116-9_25.

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Lindmayr-Brandl, Andrea. "Polyphonic music in early German print." In Early Music Printing in German-Speaking Lands, 245–58. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315281452-12.

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Rizo, David, Kjell Lemström, and José M. Iñesta. "Tree Representation in Combined Polyphonic Music Comparison." In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music, 177–95. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02518-1_12.

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Johnson, Daniel D. "Generating Polyphonic Music Using Tied Parallel Networks." In Computational Intelligence in Music, Sound, Art and Design, 128–43. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_9.

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Argenti, Fabrizio, Paolo Nesi, and Gianni Pantaleo. "Automatic Music Transcription: From Monophonic to Polyphonic." In Springer Tracts in Advanced Robotics, 27–46. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_3.

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Allali, Julien, Pascal Ferraro, Pierre Hanna, and Matthias Robine. "Polyphonic Alignment Algorithms for Symbolic Music Retrieval." In Auditory Display, 466–82. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-12439-6_24.

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Jakobidze-Gitman, Alexander. "Literarische Polyphonie in homophoner Musik." In Polyphonie in literarischen, medizinischen und pflegewissenschaftlichen Textsorten, 69–82. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737009904.69.

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Tanaka, Tsubasa, and Koichi Fujii. "Melodic Pattern Segmentation of Polyphonic Music as a Set Partitioning Problem." In Computational Music Science, 291–98. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_29.

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Conference papers on the topic "Polyphoic music"

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Ari, Ismail, Umut Simsekli, Ali Taylan Cemgil, and Lale Akarun. "SVD-based polyphonic music transcription." In 2012 20th Signal Processing and Communications Applications Conference (SIU). IEEE, 2012. http://dx.doi.org/10.1109/siu.2012.6204667.

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Valenti, Andrea, Stefano Berti, and Davide Bacciu. "Calliope - A Polyphonic Music Transformer." In ESANN 2021 - European Symposium on Artificial Neural Networks, Computational Intelligence and Machine Learning. Louvain-la-Neuve (Belgium): Ciaco - i6doc.com, 2021. http://dx.doi.org/10.14428/esann/2021.es2021-63.

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Ezzaidi, Hassan, Mohammed Bahoura, and Jean Rouat. "Singer and music discrimination based threshold in polyphonic music." In 2010 IEEE International Symposium on Signal Processing and Information Technology (ISSPIT). IEEE, 2010. http://dx.doi.org/10.1109/isspit.2010.5711726.

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Maher, R. C. "Control Of Interharmonic In Polyphonic Music." In Final Program and Paper Summaries 1991 IEEE ASSP Workshop on Applications of Signal Processing to Audio and Acoustics. IEEE, 1991. http://dx.doi.org/10.1109/aspaa.1991.634148.

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Pickens, Jeremy, and Tim Crawford. "Harmonic models for polyphonic music retrieval." In the eleventh international conference. New York, New York, USA: ACM Press, 2002. http://dx.doi.org/10.1145/584792.584863.

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Pickens, Jeremy. "Feature selection for polyphonic music retrieval." In the 24th annual international ACM SIGIR conference. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/383952.384070.

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Barbancho, Ana M., Isabel Barbancho, Beatriz Soto, and Lorenzo J. Tardon. "SIC receiver for polyphonic piano music." In ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946419.

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Ezzaidi, Hassan, and Mohammed Bahoura. "Voice singer detection in polyphonic music." In 2009 16th IEEE International Conference on Electronics, Circuits and Systems - (ICECS 2009). IEEE, 2009. http://dx.doi.org/10.1109/icecs.2009.5410803.

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Dieguez, Pablo Lopez, and Von-Wun Soo. "Variational Autoencoders for Polyphonic Music Interpolation." In 2020 International Conference on Technologies and Applications of Artificial Intelligence (TAAI). IEEE, 2020. http://dx.doi.org/10.1109/taai51410.2020.00019.

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Wu, Yu-Te, Berlin Chen, and Li Su. "Polyphonic Music Transcription with Semantic Segmentation." In ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8682605.

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