Dissertations / Theses on the topic 'Polyphoic music'
To see the other types of publications on this topic, follow the link: Polyphoic music.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Polyphoic music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Francis, Kelly Anne. "Attention and Polyphonic Music." UNIVERSITY OF ROCHESTER, 2012. http://pqdtopen.proquest.com/#viewpdf?dispub=3478289.
Full text
2
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.
Full textAbstract:
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.
3
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.
Full text
4
Salamon, Justin J. "Melody extraction from polyphonic music signals." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/123777.
Full textAbstract:
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.
5
Nunn, Douglas John Edgar. "Analysis and resynthesis of polyphonic music." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4759/.
Full textAbstract:
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.
6
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.
Full text
7
Pertusa, Antonio. "Computationally efficient methods for polyphonic music transcription." Doctoral thesis, Universidad de Alicante, 2010. http://hdl.handle.net/10045/18326.
Full text
8
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.
Full text
9
Loeffler, Dominik B. "Instrument Timbres and Pitch Estimation in Polyphonic Music." Thesis, Georgia Institute of Technology, 2006. http://hdl.handle.net/1853/10568.
Full textAbstract:
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
10
Jeon, Woojay. "Pitch detection of polyphonic music using constrained optimization." Thesis, Georgia Institute of Technology, 2002. http://hdl.handle.net/1853/15802.
Full text
11
Benetos, Emmanouil. "Automatic transcription of polyphonic music exploiting temporal evolution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3368.
Full textAbstract:
Automatic music transcription is the process of converting an audio recording into a symbolic representation using musical notation. It has numerous applications in music information retrieval, computational musicology, and the creation of interactive systems. Even for expert musicians, transcribing polyphonic pieces of music is not a trivial task, and while the problem of automatic pitch estimation for monophonic signals is considered to be solved, the creation of an automated system able to transcribe polyphonic music without setting restrictions on the degree of polyphony and the instrument type still remains open. In this thesis, research on automatic transcription is performed by explicitly incorporating information on the temporal evolution of sounds. First efforts address the problem by focusing on signal processing techniques and by proposing audio features utilising temporal characteristics. Techniques for note onset and offset detection are also utilised for improving transcription performance. Subsequent approaches propose transcription models based on shift-invariant probabilistic latent component analysis (SI-PLCA), modeling the temporal evolution of notes in a multiple-instrument case and supporting frequency modulations in produced notes. Datasets and annotations for transcription research have also been created during this work. Proposed systems have been privately as well as publicly evaluated within the Music Information Retrieval Evaluation eXchange (MIREX) framework. Proposed systems have been shown to outperform several state-of-the-art transcription approaches. Developed techniques have also been employed for other tasks related to music technology, such as for key modulation detection, temperament estimation, and automatic piano tutoring. Finally, proposed music transcription models have also been utilized in a wider context, namely for modeling acoustic scenes.
12
Johnson, Nicholas. "Musica Caelestia: Hermetic Philosophy, Astronomy, and Music at the Court of Rudolf II." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354712996.
Full text
13
Lese, Amy. "Primitive Polyphony? Simple Polyphony Outside the Mainstream of the Music History Narrative." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19281.
Full textAbstract:
This thesis addresses the relatively narrow understanding of simple polyphony in music history. Using three examples, I provide a survey, mostly of secondary literature available in English, and offer an overview of the use of simple polyphony in three different places and time periods in Western Europe during the Middle Ages and the Renaissance. More specifically, I examine the music of the Devotio Moderna in the Low Countries and Northern Germany during the fifteenth and sixteenth centuries, the Llibre Vermell and Iberian pilgrim culture in the fourteenth century, and the laude and processional genres in Northern Italy during the thirteenth, fourteenth, and fifteenth centuries. My purpose is to bring the topic of simple polyphony—significant despite its simplicity—back to the center of the music history narrative.
14
Catherwood, Carolyn Paulette. "English polyphonic carol manuscripts, c. 1420-1450." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338979.
Full text
15
Fuhrmann, Ferdinand. "Automatic musical instrument recognition from polyphonic music audio signals." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/81328.
Full textAbstract:
En aquesta tesi presentem un mètode general per al reconeixement automàtic d’instruments musicals partint d’un senyal d’àudio. A diferència de molts enfocs relacionats, el nostre evita restriccions artificials o artificioses pel que fa al disseny algorísmic, les dades proporcionades al sistema, o el context d’aplicació. Per tal de fer el problema abordable, limitem el procés a l’operació més bàsica consistent a reconèixer l’instrument predominant en un breu fragment d’àudio. Així ens estalviem la separació de fonts sonores en la mescla i, més específicament, predim una font sonora a partir del timbre general del so analitzat. Per tal de compensar aquesta restricció incorporem, addicionalment, informació derivada d’una anàlisi musical jeràrquica: primer incorporem context temporal a l’hora d’extraure etiquetes dels instruments, després incorporem aspectes formals de la peça que poden ajudar al reconeixement de l’instrument, i finalment incloem informació general gràcies a l’explotació de les associacions entre gèneres musicals i instruments.In this dissertation we present a method for the automatic recognition of musical instruments from music audio signal. Unlike most related approaches, our specific conception mostly avoids laboratory constraints on the method’s algorithmic design, its input data, or the targeted application context. To account for the complex nature of the input signal, we limit the basic process in the processing chain to the recognition of a single predominant musical instrument from a short audio fragment. We thereby prevent resolving the mixture and rather predict one source from the timbre of the sound. To compensate for this restriction we further incorporate information derived from a hierarchical music analysis; we first incorporate musical context to extract instrumental labels from the time-varying model decisions. Second, the method incorporates information regarding the piece’s formal aspects into the process. Finally, we include information from the collection level by exploiting associations between musical genres and instrumentations.
16
Tanur, Luke. "A Geometric Approach to Pattern Matching in Polyphonic Music." Thesis, University of Waterloo, 2005. http://hdl.handle.net/10012/1132.
Full textAbstract:
The music pattern matching problem involves finding matches of a small fragment of music called the "pattern" into a larger body of music called the "score". We represent music as a series of horizontal line segments in the plane, and reformulate the problem as finding the best translation of a small set of horizontal line segments into a larger set of horizontal line segments. We present an efficient algorithm that can handle general weight models that measure the musical quality of a match of the pattern into the score, allowing for approximate pattern matching.
We give an algorithm with running time O(nm(d + log m)), where n is the size of the score, m is the size of the pattern, and d is the size of the discrete set of musical pitches used. Our algorithm compares favourably to previous approaches to the music pattern matching problem. We also demonstrate that this geometric formulation of the music pattern matching problem is unlikely to have a significantly faster algorithm since it is at least as hard as 3SUM, a basic problem that is conjectured to have no subquadratic algorithm. Lastly, we present experiments to show how our algorithm can find musically sensible variations of a theme, as well as polyphonic musical patterns in a polyphonic score.
17
Fujiwara, Hiromasa. "Statistical Modeling for Recognizing Singing Voices in Polyphonic Music." 京都大学 (Kyoto University), 2010. http://hdl.handle.net/2433/120368.
Full text
18
Mahony, Marinela. "An investigation of the polyphonic folk music of Albania." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/27337.
Full textAbstract:
Geographically Albania is divided into two main regions: northern Ghegeria and southern Toskeria. The southern part (Toskeria) consists of two sub-regions, Toske and Laberia. These share many commonalities yet the musical styles of each are distinctly different. The Shkumbini River serves as a boundary between the two main regions, as well as a cultural divide distinguishing the varying musical performances and styles. Monodic music is practiced mainly in the north whilst polyphonic music is most commonly performed in the south. These two diverse systems impact on the folk songs of the two regions making them sound significantly different. In addition, different folk instruments are used in both regions. The instrumental and vocal monodic music of the north (Ghegeria) is based on the modal system, with Dorian, Aeolian, Mixolydian, Phrygian, Lydian, Ionian and Hypolydian modes being used. The songs of the north typically portray important historical events or heroic deeds, while the southern songs are not as nationalistic and cover various social themes. They are in general a lot softer and more melodic in character. The folk music of the south (Toskeria) is based on the pentatonic scale, with significant differences which are noticed within the two sub-regions (Toske and Laberia). The vocal music of the south consists of two, three or four vocal parts singing a capella, although sometimes instrumental accompaniment is added. The polyphonic music of the sub-region of Toske is characterized by imitative elements utilized in both the melodies and rhythms of the songs, providing a sense of thematic unity, whereas in Laberia contrasting elements are more dominant throughout the songs. Despite these differences, iso (or drone) is performed similarly in both sub-regions, and is another important element in the polyphonic music of the south. A notable form of instrumental polyphonic music of Toskeria is that of Kaba, performed by Saze folk ensembles. What distinguishes Albanian polyphonic folk music from its counterparts in other areas of the world is that it has not only survived but is flourishing in modern times. Unlike many other cultures that have excluded polyphonic music from mainstream society, Albanian polyphonic music is known by most Albanians and is well practiced and enjoyed by all age groups, and rural as well as urban Albanians, regardless of their degree of formal musical trainingDissertation (MMus)--University of Pretoria, 2011.
Music
unrestricted
19
Monti, Giuliano. "A multi-pitch prediction-driven approach to polyphonic music transcription." Thesis, Queen Mary, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413718.
Full text
20
Siegrist, Tomasz Marc. "At the borders of Polyphony : About different Text simultaneously in a choir setting,with a particular focus on vowels." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2510.
Full text
21
Everist, Mark. "Polyphonic music in thirteenth-century France : aspects of sources and distribution." Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:0912c195-4c7f-4acb-bd43-17fd0b2bbce0.
Full textAbstract:
The investigation of primary sources of thirteenth-century polyphony has been closely related to questions of the date and provenance of the surviving manuscripts. Previous studies have taken a single book and attempted to place it chronologically and topographically within the history of music of the thirteenth century. This thesis considers surviving material related to thirteenth-century polyphony and evaluates the patterns of production found there. These considerations are supported by a review of chronology in the period. Using techniques derived from the fields of paleography, codicology, and art history, the manuscripts are loosely divided into Parisian and non-Parisian, and the contrasting types of book-production are placed in the context of the contemporary production of other types of book. At the most basic level, Parisian books betray a professional and organised system of production which relates to the generation of books which preceded the establishment of the pecia system whilst provincial manuscripts seem to suggest a more informal and ad-hoc construction and circulation. The data obtained from such source-critical inquiry are then used to ask questions concerning the distribution of genre with the discussion focused primarily on the motet and its various sub-species: bilingual motet, rondeau-motet, etc. Conclusions as regards distribution of the music suggest a distinction between Parisian practices and provincial, particularly Artesian, musical cultures. It is argued that concordance-bases and origins of surviving sources suggest the exclusive cultivation of some genres in Paris, and, of others, in Artois or the provinces.
22
Chandna, Pritish. "Neural networks for singing voice extraction in monaural polyphonic music signals." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/673414.
Full textAbstract:
This thesis dissertation focuses on singing voice extraction from polyphonic musical signals. In particular, we focus on two cases; contemporary popular music, which typically has a processed singing voice with instrumental accompaniment and ensemble choral singing, which involves multiple singers singing in harmony and unison.
Over the last decade, several deep learning based models have been proposed to separate the singing voice from instrumental accompaniment in a musical mixture. Most of these models assume that the musical mixture is a linear sum of the individual sources and estimate time-frequency masks to filter out the sources from the input mixture. While this assumption doesn't always hold, deep learning based models have shown remarkable capacity to model the separate sources in a mixture.
In this thesis, we propose an alternative method for singing voice extraction. This methodology assumes that the perceived linguistic and melodic content of a singing voice signal is retained even when it is put through a non-linear mixing process. To this end, we explore language independent representations of linguistic content in a voice signal as well as generative methodologies for voice synthesis. Using these, we propose the framework for a methodology to synthesize a clean singing voice signal from the underlying linguistic and melodic content of a processed voice signal in a musical mixture.
In addition, we adapt and evaluate state-of-the-art source separation methodologies to separate the soprano, alto, tenor and bass parts of choral recordings. We also use the proposed methodology for extraction via synthesis along with other deep learning based models to analyze unison singing within choral recordings.Aquesta tesi se centra en l’extracció de veu cantada a partir de senyals musicals polifònics. En particular, ens centrem en dos casos; música popular contemporània, que normalment té una veu cantada processada amb acompanyament instrumental, i cant coral, que consisteix en diversos cantants cantant en harmonia i a l’uníson. Durant l’última dècada, s’han proposat diversos models basats en l’aprenentatge profund per separar la veu de l’acompanyament instrumental en una mescla musical. La majoria d’aquests models assumeixen que la mescla és una suma lineal de les fonts individuals i estimen les màscares temps-freqüència per filtrar les fonts de la mescla d’entrada. Tot i que aquesta assumpció no sempre es compleix, els models basats en l’aprenentatge profund han demostrat una capacitat notable per modelar les fonts en una mescla. En aquesta tesi, proposem un mètode alternatiu per l’extracció de la veu cantada. Aquesta metodologia assumeix que el contingut lingüístic i melòdic que percebem d’un senyal de veu cantada es manté fins i tot quan es tracta d’una mescla no lineal. Per a això, explorem representacions del contingut lingüístic independents de l’idioma en un senyal de veu, així com metodologies generatives per a la síntesi de veu. Utilitzant-les, proposem una metodologia per sintetitzar un senyal de veu cantada a partir del contingut lingüístic i melòdic subjacent d’un senyal de veu processat en una mescla musical. A més, adaptem i avaluem metodologies de separació de fonts d’última generació per separar les parts de soprano, contralt, tenor i baix dels enregistraments corals. També utilitzem la metodologia proposada per a l’extracció mitjançant síntesi juntament amb altres models basats en l’aprenentatge profund per analitzar el cant a l’uníson dins dels enregistraments corals.
Esta disertación doctoral se centra en la extracción de voz cantada a partir de señales musicales polifónicas de audio. En particular, analizamos dos casos; música popular contemporánea, que normalmente contiene voz cantada procesada y acompañada de instrumentación, y canto coral, que involucra a varios coristas cantando en armonía y al unísono. Durante la última década, se han propuesto varios modelos basados en aprendizaje profundo para separar la voz cantada del acompañamiento instrumental en una mezcla musical. La mayoría de estos modelos asumen que la mezcla musical es una suma lineal de fuentes individuales y estiman máscaras de tiempo-frecuencia para extraerlas de la mezcla. Si bien esta suposición no siempre se cumple, los modelos basados en aprendizaje profundo han demostrado tener una gran capacidad para modelar las fuentes de la mezcla. En esta tesis proponemos un método alternativo para extraer voz cantada. Esta técnica asume que el contenido lingüístico y melódico que se percibe en la voz cantada se retiene incluso cuando la señal es sometida a un proceso de mezcla no lineal. Con este fin, exploramos representaciones del contenido lingüístico independientes del lenguaje en la señal de voz, así como metodos generativos para síntesis de voz. Utilizando estas técnicas, proponemos la base para una metodología de síntesis de voz cantada limpia a partir del contenido lingüístico y melódico subyacente de la señal de voz procesada en una mezcla musical. Además, adaptamos y evaluamos metodologías de separación de fuentes de última generación para separar las voces soprano, alto, tenor y bajo de grabaciones corales. También utilizamos la metodología propuesta para extracción mediante síntesis junto con otros modelos basados en aprendizaje profundo para analizar canto al unísono dentro de grabaciones corales.
23
De, Leon Franz. "Content based retrieval and classification of music using polyphonic timbre similarity." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/368591/.
Full textAbstract:
Digital technology and the Internet have changed the music industry's landscape. Music has become more accessible allowing consumers to store and share thousands of items in their computer's hard disk, portable media player, mobile phoone and other devices. Recent developments allow consumers to store digital music on the Internet through cloud storage. Given the large music collections available, there is a need for new applications for browsing, organising, discovering and generating playlists for users. In previous years, searching for music has been similar to a textual information search. However, this limits music discovery as it usually requires specific information that may be unknown to the user. This thesis investigates three of the core components of content-based music retrieval: audio features, similarity functions and indexing methods. In the content-based paradigm, audio files are analyzed using their waveform and are represented by high-dimensional features. This study focuses on polyphonic timbre similarity. Polyphonic timbre is the characteristic that allows listeners to differentiate between two music signals or complex instrumental textures with the same perceived pitch and loudness. The different attributes of timbre are examined and suitable features that can be used for music retrieval using timbre similarity are investigated. Evaluations are performed to compare the performance of these features. To improve the overall performance and reduce the undesirable effects of operating in high-dimensionality space, methods on how feature spaces can be combined are also explored. A full linear scan of the feature space is impractical for large music collections. Hence, the filter-and-refine method is adopted to expedite the retrieval process. The objective is to filter a dataset by quickly returning a set of candidate songs then refining the results using an exact similarity measure. Some novel modifications of the filtering step are made to ensure that the level of performance is maintained. The application of our timbre similarity systems are extended to automatic audio classification. In the paradigm, anunlabeled track is tagged with the label of the nearest track. Finally, the performance of our similarity estimator and audio classifier are validated in the annual Music Information Retrieval Evaluation eXchange (MIREX). The MIREX results show that our techniques are state-of-the-art methods.
24
Manzo, Vincent Joseph. "The Effects of Polyphonic Interactive Music Systems on Determining Harmonic Functions." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/164455.
Full textAbstract:
Music EducationPh.D.
The ability to determine chords and progressions used in popular music is a valuable skill for musicians and part of musicianship. A music educator should be able to listen to the popular songs familiar to students and quickly and easily determine the chords and progressions being used in this music in order to convey information to the students about how the piece was composed and how it may be performed. Though some view this skill as being important, it is not assessed on teacher certification examinations, and the NASM (2010) accreditation mandate for addressing these particular skills in undergraduate and graduate ear-training (aural skills) courses is unclear at best. Musicians who have learned music informally may be more adept at this skill, likely out of the necessity to learn new music without the assistance of reading standard music notation. Mastery of this skill, however, could have more to do with the frequency that individuals perform with a polyphonic instrument as opposed to performers who play primarily monophonic instruments. When compared to musicians who have mastered a polyphonic instrument such as guitar or piano, musicians lacking experience performing on a polyphonic instrument may also lack an understanding of the concept of a three-note sonority functioning in a way specified by the key. In order to determine chords and chord progressions, experience performing harmony, hearing how it functions, and doing so with fluency is necessary. For players of monophonic instruments such as the trumpet or voice, the traditional approach for supplementing the lack of experience playing a polyphonic instrument is to give them piano lessons. However, without mastery of performance skills on this instrument, the fluency necessary to afford experiences in which the performer can be performing harmony while hearing how it functions can be difficult. One solution can be the implementation of interactive musical instruments and environments that provide a way of performing harmony with controls that are more accessible in terms of immediate use than traditional instruments. Technology-based musical instruments are easily obtainable to individuals via digital mediums and allow an immediacy by which an individual can compose and perform even without formal music training (Manzo, 2007; Pask, 2007; Wel, 2011). The present study observed the effects of activities involving polyphonic interactive music systems on participants' ability to determine chords and progressions. I observed the ways that post-test scores changed after using the software, and noted the extent to which subjects were able to determine chord progressions better or worse with the aid of this interactive software system versus a traditional polyphonic instrument. An increased ability to do so could yield important implications for individuals looking to easily perform chords for pedagogical reasons, such as practicing the determination of chords and chord progressions, but who lack mastery performing a polyphonic instrument; an interactive system could provide an alternative to traditional instruments. The open-source software developed and used for this study can be easily changed to allow musical events to be triggered using any sort of control mechanism including sensors, buttons, and more. This software, with its limited number of labeled controls, can be expanded to function as a prototype for future research. Visit www.vjmanzo.com/dissertation for more information.
Temple University--Theses
25
Chang, Yihuei Summer. "A comparison of four practice procedures for learning polyphonic piano music /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
26
Bello, Correa Juan Pablo. "Towards the automated analysis of simple polyphonic music : a knowledge-based approach." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/3803.
Full textAbstract:
Music understanding is a process closely related to the knowledge and experience of the listener. The amount of knowledge required is relative to the complexity of the task in hand. This dissertation is concerned with the problem of automatically decomposing musical signals into a score-like representation. It proposes that, as with humans, an automatic system requires knowledge about the signal and its expected behaviour to correctly analyse music. The proposed system uses the blackboard architecture to combine the use of knowledge with data provided by the bottom-up processing of the signal's information. Methods are proposed for the estimation of pitches, onset times and durations of notes in simple polyphonic music. A method for onset detection is presented. It provides an alternative to conventional energy-based algorithms by using phase information. Statistical analysis is used to create a detection function that evaluates the expected behaviour of the signal regarding onsets. Two methods for multi-pitch estimation are introduced. The first concentrates on the grouping of harmonic information in the frequency-domain. Its performance and limitations emphasise the case for the use of high-level knowledge. This knowledge, in the form of the individual waveforms of a single instrument, is used in the second proposed approach. The method is based on a time-domain linear additive model and it presents an alternative to common frequency-domain approaches. Results are presented and discussed for all methods, showing that, if reliably generated, the use of knowledge can significantly improve the quality of the analysis.
27
Mukhedkar, Dhananjay. "Polyphonic Music Instrument Detection on Weakly Labelled Data using Sequence Learning Models." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279060.
Full textAbstract:
Polyphonic or multiple music instrument detection is a difficult problem compared to detecting single or solo instruments in an audio recording. As music is time series data it be can modelled using sequence learning methods within deep learning. Recently, temporal convolutional networks (TCN) have shown to outperform conventional recurrent neural networks (RNN) on various sequence modelling tasks. Though there have been significant improvements in deep learning methods, data scarcity becomes a problem in training large scale models. Weakly labelled data is an alternative where a clip is annotated for presence or absence of instruments without specifying the times at which an instrument is sounding. This study investigates how TCN model compares to a Long Short-Term Memory (LSTM) model while trained on weakly labelled dataset. The results showed successful training of both models along with generalisation on a separate dataset. The comparison showed that TCN performed better than LSTM, but only marginally. Therefore, from the experiments carried out it could not be explicitly concluded if TCN is convincingly a better choice over LSTM in the context of instrument detection, but definitely a strong alternative.Polyfonisk eller multipel musikinstrumentdetektering är ett svårt problem jämfört med att detektera enstaka eller soloinstrument i en ljudinspelning. Eftersom musik är tidsseriedata kan den modelleras med hjälp av sekvensinlärningsmetoder inom djup inlärning. Nyligen har ’Temporal Convolutional Network’ (TCN) visat sig överträffa konventionella ’Recurrent Neural Network’ (RNN) på flertalet sekvensmodelleringsuppgifter. Även om det har skett betydande förbättringar i metoder för djup inlärning, blir dataknapphet ett problem vid utbildning av storskaliga modeller. Svagt märkta data är ett alternativ där ett klipp kommenteras för närvaro av frånvaro av instrument utan att ange de tidpunkter då ett instrument låter. Denna studie undersöker hur TCN-modellen jämförs med en ’Long Short-Term Memory’ (LSTM) -modell medan den tränas i svagt märkta datasätt. Resultaten visade framgångsrik utbildning av båda modellerna tillsammans med generalisering i en separat datasats. Jämförelsen visade att TCN presterade bättre än LSTM, men endast marginellt. Därför kan man från de genomförda experimenten inte uttryckligen dra slutsatsen om TCN övertygande är ett bättre val jämfört med LSTM i samband med instrumentdetektering, men definitivt ett starkt alternativ.
28
Huncik, Kata. "A liturgical-repertorial study of 16th-century polyphonic music in "Bartfa MS 8"." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26929.
Full textAbstract:
Along with the other volumes of the Bartfa Collection , the 16th-century MS 8 was discovered in the Lutheran town of Bartfa (today Slovakia). While the manuscripts and prints of the Bartfa Collection have been somewhat neglected by Western scholars, the present study shows that this topic is worthy of attention. In examining the historical context, the role of the schoolmaster, Leonard Stockel stands out as particularly interesting; his life-time friendship with Luther and Melanchthon directly links Bartfa to the German Lutheranism. The German link is also apparent in MS 8 itself, as according to Muranyi, it was copied in Southern Germany ca. 1555. In this research, a thorough watermark study has also been carried out, the results of which challenge the established date and may shift it to as early as 1545. Furthermore, a reportorial study focusing on the anonymous compositions has been taken into consideration along with Bartfa's unique Lutheran liturgical practice.
29
Huron, D. "Voice segregation in selected polyphonic keyboard works by Johann Sebastian Bach." Thesis, University of Nottingham, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234610.
Full text
30
King, Jonathan. "Texting in early fifteenth-century sacred polyphony." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321515.
Full text
31
Jenkins, Glynn Edwin Fayrfax Robert Wilder Philip van Carver Robert Lupi Johannes Certon Pierre Sermisy Claudin de Johnson Robert Douglas Patrick. "Latin polyphony in Scotland, 1500-1560 (with studies in analytical techniques) /." Online version, 1988. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.380815.
Full textAbstract:
Thesis (Ph. D.)--University of Exeter, 1988.Appendix A (v. I, leaves 367-388) "presents information relating to William Finschear the elder, a burgess of Edinburgh and possibly scribe of the Dunkeld Partbooks." Vol. II contains editions with commentary of the following works: Robert Fayrfax, Ave Dei Patris filia; Philip van Wilder, Vidi civitatem; van Wilder, Aspice Domine; Robert Carvor [sic], Mass Dum sacrum mysterium; Carvor, Mass Sine nomine a 5; Johannes Lupi, Ad nutum Domini nostrum; Pierre Certon, Regina caeli; Claudin de Sermisy, O Maria stans sub cruce; Robert Johnson, Domine in virtute tua; Patrick Douglas, In convertendo Domini. Publisher's no.: DX 82363. Includes bibliographical references (v. I, leaves 448-456).
32
Lin, Zhichun. "Hearing Their Stories Through Polyphonic Soundtracks: Women and Music in Contemporary Chinese Film." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374231964.
Full text
33
BOWEN, RICHARD LEON. "TONAL STRUCTURE IN THE POLYPHONIC MAGNIFICAT OF THE SIXTEENTH CENTURY." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin983484140.
Full text
34
Eggink, Jana. "Instrument recognition and melody estimation in polyphonic music based on limited time-frequency representations." Thesis, University of Sheffield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425616.
Full text
35
Bakulina, Olga. "Polyphony as a loosening technique in Mozart's «Haydn» quartets." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92332.
Full textAbstract:
This study explores the relationship between texture and form in Mozart's six string quartets dedicated to Haydn and claims that texture can act as a form-defining factor. Building on William Caplin's theory of formal functions and on his distinction between tight-knit and loose formal organization, I argue that polyphonic texture serves as a loosening device through grouping-structure conflicts and thus acts as one of the determinants of medial and sometimes concluding formal functionality. Polyphony is also used as a means of contrast, distinguishing two formal sections that use the same motivic material but that differ from each other with regard to textural and formal organization. I define and give examples of contrast pair, a concept that embraces questions of formal functionality, formal structure textural types, and motivic material. Therefore this concept allows one to combine two different, but compatible approaches: the theory of formal functions and motivic analysis.Cette étude explore la relation entre texture et forme dans les six quatuors à cordes de Mozart dédiés à Haydn, et soutient que la texture peut être un facteur déterminant de la forme. En m'inspirant des concepts de fonctions formelles de William Caplin et de la distinction qu'il apporte entre certaines organisations formelles très rigoureuses et d'autres moins structurées, je soutient que la texture polyphonique est utilisée comme élément relâchant lors de conflits groupes-structure, et ainsi agit comme un des éléments détérminants de fonctions formelles médianes, et parfois conclusive. La polyphonie est également employée comme moyen de contraste, en distinguant deux sections formelles utilisant le même matériau motivique mais qui diffèrent entre elles au niveau de la texture et de l'organisation formelle. Je définis et donne des exemples de paires de contrastes, un concept englobant les questions de fonctionnalité formelle, structure formelle, types de texture et matériau motivique. Ce concept permet donc de combiner deux approches différentes, mais compatibles: le théorie de la fonction formelle at l'analyse motivique.
36
Doctor, Daniel Bruce. "Treatment of polyphony in the music of Giovanni Pierluigi da Palestrina and Orlandus Lassus." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1606214.
Full textAbstract:
Composers who thrived during the Renaissance period were able to integrate a developing use of polyphony into their music successfully without distorting the meaning of the cherished sacred text. The fact that composers of this period were able to write hauntingly beautiful compositions, with so much resistance toward the use of polyphony, is truly astounding. The focus of this study will be on Giovanni Pierluigi da Palestrina's Missa Brevis and Orlandus Lassus's Missa "Entre vous Filles." Both works are solid representations of each composer's compositional characteristics after their writing style matured. This paper analyzes the many compositional techniques used in the two Missa brevis settings by Palestrina and Lassus with a goal of uncovering how these men created musically rewarding compositions while following the musical guidelines of their time.
In order to understand fully how each composer developed as a musician it is important to study the past. Therefore, the paper will feature a brief history of each composer aimed at familiarizing the reader with their formal training and their specific compositional characteristics. A study of each composer's musical tendencies will help track the development of their styles. The meetings at the Council of Trent had a profound impact on sacred music of this period. These implications will be briefly described in the paper. Finally, a thorough analysis of each Missa brevis, with specific attention placed on the Kyrie and Credo movements, will provide crucial information to support the position of this paper. The analysis will include Roman numeral harmonic implications, motivic development, treatment of text, and form. The goal is to uncover, through detailed analysis, how Palestrina and Lassus were effectively able to set text that pleased religious leaders while maintaining their musical integrity. This paper allows for an in-depth study into the approach each composer took to achieve this success. This research should be of great use to conductors of current choral ensembles who are considering programming sacred music by Palestrina and Lassus.
37
Rong, Xing. "A Comparative Study of Polyphonic Techniques in Chang-Lei Zhu's Ballade for Solo Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538807/.
Full textAbstract:
In Chinese contemporary piano music, large-scale piano compositions featuring innovative polyphonic musical languages are rarely found. Chang-Lei Zhu's Ballade for Solo Piano represents his development of contrapuntal techniques passed on from J. S. Bach and Dmitri Shostakovich in their polyphonic works for solo keyboard or piano. This study focuses on an analysis of Zhu's Ballade as an idiosyncratic composition that makes a significant contribution to the Chinese contemporary piano music repertory. Comparative analysis is made of Zhu's Ballade and J.S. Bach's Well-Tempered Clavier Books 1 and 2, as well as Dmitri Shostakovich's 24 Preludes and Fugues for Solo Piano, Op. 87. Zhu, a living Chinese composer born in 1976, uniquely writes the twenty variations of his Ballade based on the opening theme, a single melody in ten subphrases. This research lays out the close relationship of the opening theme with twenty variations in the Ballade. This study also illustrates how Zhu is an innovative voice in Chinese contemporary piano music literature. This comparative study constitutes the first scholarly study of Zhu's Ballade. Chapter 1 is an introduction to my comparative study. In chapter 2, comparisons on selected excerpts are conducted between Zhu's Ballade and J.S. Bach's WTC, Books 1 and 2, as well as Dmitri Shostakovich's Op. 87. Taking into consideration the pedagogical function of the Ballade, this study includes how the work can be used in Zhu's Ballade in piano pedagogy as an addition in chapter 3.
38
Linklater, Christina. "Guillaume de Machaut's "Messe de Nostre Dame" in the context of fourteenth-century polyphonic music for the Mass Ordinary." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9317.
Full textAbstract:
It is widely held in the scholarly literature of music history that the Messe de Nostre Dame of Guillaume de Machaut is unique. While several other examples of polyphonic settings of the Mass Ordinary dating from approximately the same era do survive, they are distinct from Machaut's Mass in at least two respects. The Messe de Nostre Dame is attributed to a single, named composer, whereas most fourteenth-century Mass cycles are anonymous, or are thought to have been assembled from the repertories of several composers, or both. Further, few contemporary medieval cycles are copied as such, preserving instead the traditional organization of the kyriale, in which several Kyrie movements are grouped in one section, followed by a group of Gloria movements, and so on; Machaut's Mass, however, survives complete in five manuscript versions, all of which present its six movements in uninterrupted succession. Despite the comparative difficulty of assembling cycles from the largely anonymous and physically separate movements described above, though, a convincing case may be made (and has been) for the existence of several pre-modern polyphonic cycles besides the Messe de Nostre Dame. (Abstract shortened by UMI.)
39
Losseff, Nicola. "Insular sources of thirteenth-century polyphony and the significance of Notre Dame." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/insular-sources-of-thirteenthcentury-polyphony-and-the-significance-of-notre-dame(3b62e6ee-9896-4b4b-bfcb-9bd150f2b8a5).html.
Full text
40
Wilde, Howard Lionel. "Towards a new theory of voice-leading structure in sixteenth-century polyphony." Thesis, Royal Holloway, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283526.
Full text
41
Thomson, Matthew Paul. "Interaction between polyphonic motets and monophonic songs in the thirteenth century." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:4230a588-2359-4ac3-bd87-59c0e4ce775a.
Full textAbstract:
Interactions between polyphonic motets and monophonic trouvère song in the long thirteenth century have been characterised in a number of different ways. Mark Everist and Gaël Saint-Cricq have focused on motets' use of textual and musical forms usually thought of as typical of song. Judith Peraino, on the other hand, has explored the influence of motets on a range of pieces found in manuscripts that mainly contain monophonic songs. This thesis re-examines motet-song interaction from first principles, taking as its basis the 22 cases in which a voice part of a polyphonic motet is also found as a monophonic song. The thesis's analysis of this corpus has two central themes: chronology and quotation. In addressing the first, it develops a music-analytical framework to address the compositional processes involved in these case studies, arguing that in some of them a monophonic song was converted into a motet voice, while in others a motet voice was extracted from its polyphonic context to make a song. It also emphasises, however, that chronology is often more complicated than these two neatly opposed categories imply, showing that different song and motet versions can relate to each other in ways that are dynamic, complex, and often hard to recover from the extant evidence. The conversion of song material for motets and vice versa is placed within a larger context of musical quotation and re-use in the thirteenth century, showing that many of these case studies play with the pre-existence of their song or motet material: some transfer their voice parts from one medium to another in a way that consciously foregrounds their previous incarnations, whereas others mask the pre-existence of the voice part by absorbing it into new textual and musical structures. The thesis closes with a consideration of the wider implications of the motet-song interaction it analyses. It examines the generic boundary between songs and motets and suggests a model of generic analysis that centres on the complexities of manuscript transmission. Finally, it considers the use of refrains within its corpus of motets and songs, demonstrating that these short passages of music and text are often quoted in ways similar to those analysed in motets and songs earlier in the thesis.
42
Raynes, Christopher David Harlow. "Robert White's "Lamentations of Jeremiah": A history of polyphonic settings of the Lamentations in sixteenth century England." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185400.
Full textAbstract:
The Lamentations of Jeremiah inspired the development of a formal musical structure that is unique in music. Based on texts and forms used in the Roman Catholic Tenebrae service, settings of the Lamentations developed in continental Europe into a distinct form by the late fifteenth century. Early polyphonic composers of the Lamentations began the tradition of setting the opening Hebrew letters in a florid style, while maintaining a more restrained style for the verses of the text. In England, however, little apparent use was made of the Lamentations forms and texts until the middle of the sixteenth century, when a surprising number of settings appeared. The single extant earlier example by John Tuder has heretofore been considered a monodic piece, but appears to be one voice of a polyphonic work. English religious upheavals prevented liturgical use of Latin texts after 1549, but the Lamentations (and other works in Latin) continued to be written, possibly used as anthems, or for certain special occasions. The English polyphonic settings generally make use of the Lamentations forms established on the continent, but at least one example exists of an English formal model being adapted to the Lamentations texts. One of the least well-known major English composers of the period, Robert White, wrote two extensive settings of the Lamentations. These and his other works are often ignored by contemporary musicians, but provide an alternative repertoire to the more usually programmed Renaissance works.
43
Pearson, Edward R. S. "The multiresolution Fourier transform and its application to polyphonic audio analysis." Thesis, University of Warwick, 1991. http://wrap.warwick.ac.uk/35769/.
Full textAbstract:
Many people listen to, or at least hear, some form of music almost every day of their lives. However, only some of the processes involved in creating the sensations and emotions evoked by the music are understood in any detail. The problem of unravelling these processes has been much less thoroughly investigated than the comparable topics of speech and image recognition; this has almost certainly been caused by the existence of a greater number of applications awaiting this knowledge. Nevertheless, the area of music perception has attracted some attention over the last few decades and there is an increasing interest in the subject largely arising from the availability of suitably powerful technology. It is becoming feasible to use such technology to construct artificial hearing devices which attempt to reproduce the functionality of the human auditory system. The construction of such devices is both a powerful method of verifying operational theories of the human auditory system and may ultimately provide a means of analysing music in more detail than man. In addition to the analytical benefits, techniques developed in this manner are readily applicable to the creative aspects of music, such as the composition of new music and musical sounds.
44
Bonzi, Francesco. "Lyrics Instrumentalness: An Automatic System for Vocal and Instrumental Recognition in Polyphonic Music with Deep Learning." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
Find full textAbstract:
Human voice recognition is a crucial task in music information retrieval. In this master thesis we developed an innovative AI system, called Instrumental- ness, to address the instrumental song tagging.
An extended pipeline was proposed to fit the Instrumentalness require- ments, w.r.t. the well known tasks of Singing Voice Detection and Singing Voice Segmentation. A deep research on the available datasets was made and two different approaches were tried. The first one involves strongly labeled datasets and tested different neural architectures, while the second one used an attention mechanism to address a weakly labeled dataset, experimenting on different loss functions.
Transfer learning was used to take advantage of the most recent architec- tures in the music information retrieval field, keeping the model efficient and effective.
This work demonstrates that the quality of data is as important as its quan- tity. Moreover, the architectures to address strongly labeled datasets achieved the best performance, but it is remarkable that the attention mechanism used to address the weakly labeled datasets seems to be effective, even if the dataset was imbalanced and small.
45
Johnson, Eric Thomas. "Stravinsky’s Ikons: The Influence of Seventeenth-Century Russian Polyphonic Chant on Stravinsky’s Sacred Oeuvre." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218690824.
Full text
46
Connor, Kimberly Jane. "Machaut's formes fixes : towards a nidus for structure." Thesis, University of Southampton, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341589.
Full text
47
Bergwall, Erik. "'Cum organum dicitur' : The transmission of vocal polyphony in pre-Reformation Sweden and bordering areas." Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-300174.
Full textAbstract:
The polyphonic sources of medieval Sweden are very few, although well-documented in musicological research. However, while most of the earlier research has tended to focus on interpreting the sources themselves rather than to examine the cultural and historical context in which they were written, the present dissertation aims at providing a broader narrative of the transmission and practice of polyphony. By examining the cultural context of the sources and putting them in relation to each other, a bigger picture is painted, where also Danish and Norwegian sources are included. Based on the discussion and analyses of the sources, a general historical outline is suggested. The practice of organum in the late 13th century in Uppsala was probably a result from Swedes studying in Paris and via oral transmission brought the practice back home. This 'Parisian path' was accompanied by an 'English-Scandinavian' path, where mostly Denmark and Norway either influenced or were influenced by English polyphonic practice. During the 14th century, polyphony seems to have been rather established in Sweden, although prohibitions against it were made by the Order of the Bridgettines. These prohibitions were probably linked to a general antipolyphonic attitude in Europe, beginning with the papal bull of John XII in 1324. The sources of the 15th and 16th centuries are very different from each other, and perhaps suggest that polyphony of older styles were sung in monasteries and certain churches while more modern discant were sung at the royal courts and at larger religious feasts such as the translation of Catherine of Vadstena.
48
Gifford, Toby. "Improvisation in interactive music systems." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49795/1/Toby_Gifford_Thesis.pdf.
Full textAbstract:
This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.
49
Weese, Joshua L. "A convolutive model for polyphonic instrument identification and pitch detection using combined classification." Thesis, Kansas State University, 2013. http://hdl.handle.net/2097/15599.
Full textAbstract:
Master of ScienceDepartment of Computing and Information Sciences
William H. Hsu
Pitch detection and instrument identification can be achieved with relatively high accuracy when considering monophonic signals in music; however, accurately classifying polyphonic signals in music remains an unsolved research problem. Pitch and instrument classification is a subset of Music Information Retrieval (MIR) and automatic music transcription, both having numerous research and real-world applications. Several areas of research are covered in this thesis, including the fast Fourier transform, onset detection, convolution, and filtering. Basic music theory and terms are also presented in order to explain the context and structure of data used. The focus of this thesis is on the representation of musical signals in the frequency domain. Polyphonic signals with many different voices and frequencies can be exceptionally complex. This thesis presents a new model for representing the spectral structure of polyphonic signals: Uniform MAx Gaussian Envelope (UMAGE). The new spectral envelope precisely approximates the distribution of frequency parts in the spectrum while still being resilient to oscillating rapidly (noise) and is able to generalize well without losing the representation of the original spectrum. When subjectively compared to other spectral envelope methods, such as the linear predictive coding envelope method and the cepstrum envelope method, UMAGE is able to model high order polyphonic signals without dropping partials (frequencies present in the signal). In other words, UMAGE is able to model a signal independent of the signal’s periodicity. The performance of UMAGE is evaluated both objectively and subjectively. It is shown that UMAGE is robust at modeling the distribution of frequencies in simple and complex polyphonic signals. Combined classification (combiners), a methodology for learning large concepts, is used to simplify the learning process and boost classification results. The output of each learner is then averaged to get the final result. UMAGE is less accurate when identifying pitches; however, it is able to achieve accuracy in identifying instrument groups on order-10 polyphonic signals (ten voices), which is competitive with the current state of the field.
50
Jenkins, G. E. "Latin polyphony in Scotland, 1500-1560 : With studies in analytical techniques." Thesis, University of Exeter, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380815.
Full text