The paper presents the key-finding algorithm based on the music signature concept. The proposed music signature is a set of 2-D vectors which can be treated as a compressed form of representation of a musical content in the 2-D space. Each vector represents different pitch class. Its direction is determined by the position of the corresponding major key in the circle of fifths. The length of each vector reflects the multiplicity (i.e. number of occurrences) of the pitch class in a musical piece or its fragment. The paper presents the theoretical background, examples explaining the essence of the idea and the results of the conducted tests which confirm the effectiveness of the proposed algorithm for finding the key based on the analysis of the music signature. The developed method was compared with the key-finding algorithms using Krumhansl-Kessler, Temperley and Albrecht-Shanahan profiles. The experiments were performed on the set of Bach preludes, Bach fugues and Chopin preludes.
The paper presents a comparative study of music features derived from audio recordings, i.e. the same music pieces but representing different music genres, excerpts performed by different musicians, and songs performed by a musician, whose style evolved over time. Firstly, the origin and the background of the division of music genres were shortly presented. Then, several objective parameters of an audio signal were recalled that have an easy interpretation in the context of perceptual relevance. Within the study parameter values were extracted from music excerpts, gathered and compared to determine to what extent they are similar within the songs of the same performer or samples representing the same piece.
In the paper, various approaches to automatic music audio summarization are discussed. The project described in detail, is the realization of a method for extracting a music thumbnail - a fragment of continuous music of a given duration time that is most similar to the entire music piece. The results of subjective assessment of the thumbnail choice are presented, where four parameters have been taken into account: clarity (representation of the essence of the piece of music), conciseness (the motifs are not repeated in the summary), coherence of music structure, and overall quality of summary usefulness.
This paper presents a relationship between Auditory Display (AD) and the domains of music and acoustics. First, some basic notions of the Auditory Display area are shortly outlined. Then, the research trends and system solutions within the fields of music technology, music information retrieval and music recommendation and acoustics that are within the scope of AD are discussed. Finally, an example of AD solution based on gaze tracking that may facilitate music annotation process is shown. The paper concludes with a few remarks about directions for further research in the domains discussed.
We talk to Assoc. Prof. Paweł Gancarczyk from the PAS Institute of Art about how early music was perceived at the time when it was being composed, what modern musicologists regard as new discoveries and how our identities are shaped by sound.
An unpublished Musical by Pirandello: a polysemic and multicultural kaleidoscope – The fact that Pirandello conceived the idea of writing a Musical was well know, but the recent discovery of the actual text and the musical score, in the archive of Guido Torre Gherson, agent of the writer while he lived in Paris, has shed some light on his final years and writings. The findings are discussed in the context of his late theatrical and fictional works, such as I giganti della montagna.
The major aim of the research is to analyse the type and complexity of emotions which adolescent musicians experience before giving a solo music performance. Another aim is to explore the function of these emotions for performance quality. Just before a school concert, students filled out The UWIST Mood Adjective Checklist (UMACL). Right after the performance, both the performing students and competent referees used The Performance Evaluation Scale. The results show that musicians’ pre -performance emotional state is dominated by ambivalent emotions of hope and sadness, as well as joy and anxiety. As a result of a cluster analysis, six clusters were obtained which defined emotional states before the performance: high music performance anxiety, moderate music performance anxiety, calm, mixed emotions, joy with background fatigue, and excitement. The findings show the functional significance of positive emotions and mixed emotions for performance quality.
Due to an increasing amount of music being made available in digital form in the Internet, an automatic organization of music is sought. The paper presents an approach to graphical representation of mood of songs based on Self-Organizing Maps. Parameters describing mood of music are proposed and calculated and then analyzed employing correlation with mood dimensions based on the Multidimensional Scaling. A map is created in which music excerpts with similar mood are organized next to each other on the two-dimensional display.
In this study, music teachers' exposure to sound was tested by measuring the A-weighted equivalent sound pressure level (SPL), the A-weighted maximum SPL and the C-weighted peak SPL. Measurements were taken prior to and after acoustic treatment in four rooms during classes of trumpet, saxophone, French horn, trombone and percussion instruments. Results showed that acoustic treatment affects the exposure of music teachers to sound. Daily noise exposure levels (LEX, 8 h) for all teachers exceeded a limit of 85 dB while teaching music lessons prior to room treatment. It was found that the LEX, 8 h values ranged from 85.8 to 91.6 dB. The highest A-weighted maximum SPL and C-weighted peak SPL that music teachers were exposed to were observed with percussion instruments (LAmax = 110.4 dB and LCpeak = 138.0 dB). After the treatments, daily noise exposure level decreased by an average of 5.8, 3.2, 3.0, 4.2 and 4.5 dB, respectively, for the classes of trumpet, saxophone, French horn, trombone and drums, and did not exceed 85 dB in any case.
This paper reviews parametric audio coders and discusses novel technologies introduced in a low-complexity, low-power consumption audio decoder and music synthesizer platform developed by the authors. The decoder uses parametric coding scheme based on the MPEG-4 Parametric Audio standard. In order to keep the complexity low, most of the processing is performed in the parametric domain. This parametric processing includes pitch and tempo shifting, volume adjustment, selection of psychoacoustically relevant components for synthesis and stereo image creation. The decoder allows for good quality 44.1 kHz stereo audio streaming at 24 kbps. The synthesizer matches the audio quality of industry-standard sample-based synthesizers while using a twenty times smaller memory footprint soundbank. The presented decoder/synthesizer is designed for low-power mobile platforms and supports music streaming, ringtone synthesis, gaming and remixing applications.
The airflow in the mouth of an open and closed flue organ pipe of corresponding geometrical proportions is studied. The phase locked particle image velocimetry with subsequent analysis by the biorthogonal decomposition is employed in order to compare the flow mechanisms and related features. The most significant differences lie in the mean velocity distribution and rapidity of the jet lateral motion. Remarks on the pressure estimation from PIV data and its importance for the aeroacoustic source terms are made and a specific example is discussed.
This paper investigates attachment themes in the life history narratives of professional orchestral musicians and their relationship with music performance anxiety (MPA). Narrative accounts derived from open -ended in -depth interviews of ten professional musicians were analysed from an attachment perspective using content and thematic analysis. We hypothesized that the performance setting re -triggers unprocessed feelings related to early attachment experiences, especially when traumatic, and that defensive manoeuvres against their re -emergence into consciousness are activated. The interviews identified early relational trauma as a relevant etiological factor in the MPA -symptomatic of the musicians studied. A case is made for the addition of an attachment -informed life -course model rather than a purely symptomatic approach to understanding and treating severe MPA and other intra -personal psychodynamics of performing musicians.
Sound and vibrations are often perceived via the auditory and tactile senses simultaneously, e.g., in a car or train. During a rock concert, the body vibrates with the rhythm of the music. Even in a concert hall or a church, sound can excite vibrations in the ground or seats. These vibrations might not be perceived separately because they integrate with the other sensory modalities into one multi-modal perception. This paper discusses the relation between sound and vibration for frequencies up to 1 kHz in an opera house and a church. Therefore, the transfer function between sound pressure and acceleration was measured at different exemplary listening positions. A dodecahedron loudspeaker on the stage was used as a sound source. Accelerometers on the ground, seat and arm rest measured the resulting vibrations. It was found that vibrations were excited over a broad frequency range via airborne sound. The transfer function was measured using various sound pressure levels. Thereby, no dependence on level was found. The acceleration level at the seat corresponds approximately to the sound pressure level and is independent of the receiver position. Stronger differences were measured for vibrations on the ground.
Most receiving antenna arrays suffer from the mutual coupling problem between antenna elements, which can critically influence the performance of the array. In this work, a novel and accurate form of compensation matrix is applied to compensate the mutual coupling in a uniform linear array (ULA). This is achieved by applying a new method based on solving a boundary value problem for the whole ULA. In this method, both self and mutual impedances are exploited in an accurate characterization of mutual impedance matrix which results in a perfect mutual coupling compensation method, and hence a very accurate direction of arrival (DOA) estimation. In the new scheme, the compensation ma- trix is obtained by using the relationship between measured voltage and theoretical coupled voltage based on the MOM. Numerical results show that using DOA estimation algorithms to the decoupled voltage obtained by using this method leads to an excellent performance of DOA estimation with higher accuracy and resolution.
This article presents a study on music genre classification based on music separation into harmonic and drum components. For this purpose, audio signal separation is executed to extend the overall vector of parameters by new descriptors extracted from harmonic and/or drum music content. The study is performed using the ISMIS database of music files represented by vectors of parameters containing music features. The Support Vector Machine (SVM) classifier and co-training method adapted for the standard SVM are involved in genre classification. Also, some additional experiments are performed using reduced feature vectors, which improved the overall result. Finally, results and conclusions drawn from the study are presented, and suggestions for further work are outlined.
The study makes an attempt to model a complete vibrating guitar including its non-linear features, specifically the tension-compression of truss rod and tension of strings. The purpose of such a model is to examine the influence of design parameters on tone. Most experimental studies are flawed by uncertainties introduced by materials and assembly of an instrument. Since numerical modelling of instruments allows for deterministic control over design parameters, a detailed numerical model of folk guitar was analysed and an experimental study was performed in order to simulate the excitation and measurement of guitar vibration. The virtual guitar was set up like a real guitar in a series of geometrically non-linear analyses. Balancing of strings and truss rod tension resulted in a realistic initial state of deformation, which affected the subsequent spectral analyses carried out after dynamic simulations. Design parameters of the guitar were freely manipulated without introducing unwanted uncertainties typical for experimental studies. The study highlights the importance of acoustic medium in numerical models.
Jesuits arrived in the land of the New Kingdom of Grande (Colombia) at the beginning of the 17th century. They founded colleges in all most important towns and began the mis-sionary service among Indians, according to the scheme of so-called ‘doctrinas’, i.e. villages inhabited by autochthons. During the years 1605-1660 they worked in a few doctrines on Altiplano in the surroundings of Bogota and Tunja and on eastern slopes of the Andes. Their service was usually very effective and carried out according to the established methodology of the missionary work. They were appealing to the following rules: systematic and regular religious education, knowledge of the local languages by missionaries, development of the educational system including study of the singing and the music, practising solemn liturgy based on solid and well equipped churches. The past experience of the work in ‘doctrinas’ was used in the second half of the 17th century during the establishment of Jesuits’ reductions in Casanare, Meta and Orinoko.
In 2019 the Polish Jazz Association will celebrate its 50th anniversary. Its activities over that period were accompanied by countless publications in the following categories: 1) regular periodicals; 2) mimeographed typescripts and bulletins; 3) festival programmes and graphics; 4) others (flyers, ephemera, posters). The aim of this article is to examine the mechanisms of PJA publicizing its activities and using media to reach out to the jazz fan community
The main objective of this study was to analyse the psychometric properties of the Polish adaptation of the Kenny Music Performance Anxiety Inventory – Revised (K -MPAI -R, Kenny, 2009) modified as the Kenny Performance Anxiety Inventory (K -PAI) for a general population of individuals with experience in public performance in fields other than music. Another aim was to test the factor structure of K -PAI on a Polish sample. We analysed the relationship between the scores on K -PAI and general anxiety, depression, attentional control, the scores on the Behavioural Inhibition Scale (BIS) and the Behavioural Activation Scale (BAS) and reward susceptibility. Participants (N = 586) completed the questionnaires in a wider online study. The scores on K -PAI revealed a moderate to strong positive association with different measures of anxiety, trait -anxiety in particular, and negative associations with attentional control and susceptibility to reward. K -PAI scores were strongly associated with depression, but displayed no relationship with the BAS or any of its sub -dimensions. These results generally replicated those obtained on the K -MPAI -R with Australian and Peruvian musicians, indicating the cross -cultural validity of the K -MPAI -R and K -PAI. It is suggested that performance anxiety develops on the basis of the biological predispositions and early negative experiences in performance contexts.
The study is aimed to quantify the effects of social noise exposure (personal music players (PMP), events with high noise exposure) and the exposure to the other environmental noise sources in the selected sample of Slovak university students. The validated ICBEN methodology was used to assess noise annoyance. The measurement of ambient noise levels was done using hand-held sound level analyzer. There were 526 university students (143 males and 383 females, average age 23±2.2) enrolled into the study so far, 192 in the exposed housing facility to road traffic noise and 326 in the control housing facility in Bratislava. The social noise exposure was quantified and followed according to the authorized methodology of the study Ohrkan. From the total sample 416 (79.4%) students reported the use of PMP in the last week for the average time of 314 minutes. There was a significant difference in PMP use between the exposed (85.34%) and the control group (76.31%) (p = 0.01). Among PMP users 28.1% exceeded the LAV (lower action value for industry = 80 dB). The results showed the importance of road traffic and the social noise as well and the need for prevention and intervention in these vulnerable groups.
Virtual or active acoustics refers to the generation of a simulated room response by means of electroacoustics and digital signal processing. An artificial room response may include sound reflections and reverberation as well as other acoustic features mimicking the actual room. They will cause the listener to have an impression of being immersed in virtual acoustics of another simulated room that coexists with the actual physical room. Using low-latency broadband multi-channel convolution and carefully measured room data, optimized transducers for rendering of sound fields, and an intuitive touch control user interface, it is possible to achieve a very high perceived quality of active acoustics, with a straightforward adjustability. The electroacoustically coupled room resulting from such optimization does not merely produce an equivalent of a back-door reverberation chamber, but rather a fully functional complete room superimposed on the physical room, yet with highly selectable and adjustable acoustic response. The utility of such active system for music recording and performance is discussed and supported with examples.
In Western music culture instruments have been developed according to unique instrument acoustical features based on types of excitation, resonance, and radiation. These include the woodwind, brass, bowed and plucked string, and percussion families of instruments. On the other hand, instrument performance depends on musical training, and music listening depends on perception of instrument output. Since musical signals are easier to understand in the frequency domain than the time domain, much effort has been made to perform spectral analysis and extract salient parameters, such as spectral centroids, in order to create simplified synthesis models for musical instrument sound synthesis. Moreover, perceptual tests have been made to determine the relative importance of various parameters, such as spectral centroid variation, spectral incoherence, and spectral irregularity. It turns out that the importance of particular parameters depends on both their strengths within musical sounds as well as the robustness of their effect on perception. Methods that the author and his colleagues have used to explore timbre perception are: 1) discrimination of parameter reduction or elimination; 2) dissimilarity judgments together with multidimensional scaling; 3) informal listening to sound morphing examples. This paper discusses ramifications of this work for sound synthesis and timbre transposition.