No Arabic abstract
A raga is a melodic structure with fixed notes and a set of rules characterizing a certain mood endorsed through performance. By a vadi swar is meant that note which plays the most significant role in expressing the raga. A samvadi swar similarly is the second most significant note. However, the determination of their significance has an element of subjectivity and hence we are motivated to find some truths through an objective analysis. The paper proposes a probabilistic method of note detection and demonstrates how the relative frequency (relative number of occurrences of the pitch) of the more important notes stabilize far more quickly than that of others. In addition, a count for distinct transitory and similar looking non-transitory (fundamental) frequency movements (but possibly embedding distinct emotions!) between the notes is also taken depicting the varnalankars or musical ornaments decorating the notes and note sequences as rendered by the artist. They reflect certain structural properties of the ragas. Several case studies are presented.
Nonparametric methodologies are proposed to assess college students performance. Emphasis is given to gender and sector of High School. The application concerns the University of Campinas, a research university in Southeast Brazil. In Brazil college is based on a somewhat rigid set of subjects for each major. Thence a students relative performance can not be accurately measured by the Grade Point Average or by any other single measure. We then define individual vectors of course grades. These vectors are used in pairwise comparisons of common subject grades for individuals that entered college in the same year. The relative college performances of any two students is compared to their relative performances on the Entrance Exam Score. A test based on generalized U-statistics is developed for homogeneity of some predefined groups. Asymptotic normality of the test statistic is true for both null and alternative hypotheses. Maximum power is attained by employing the union intersection principle.
Audio signals are often represented as spectrograms and treated as 2D images. In this light, deep convolutional architectures are widely used for music audio tasks even though these two data types have very different structures. In this work, we attempt to open the black-box on deep convolutional models to inform future architectures for music audio tasks, and explain the excellent performance of deep convolutions that model spectrograms as 2D images. To this end, we expand recent explainability discussions in deep learning for natural image data to music audio data through systematic experiments using the deep features learned by various convolutional architectures. We demonstrate that deep convolutional features perform well across various target tasks, whether or not they are extracted from deep architectures originally trained on that task. Additionally, deep features exhibit high similarity to hand-crafted wavelet features, whether the deep features are extracted from a trained or untrained model.
We present a new approach to harmonic analysis that is trained to segment music into a sequence of chord spans tagged with chord labels. Formulated as a semi-Markov Conditional Random Field (semi-CRF), this joint segmentation and labeling approach enables the use of a rich set of segment-level features, such as segment purity and chord coverage, that capture the extent to which the events in an entire segment of music are compatible with a candidate chord label. The new chord recognition model is evaluated extensively on three corpora of classical music and a newly created corpus of rock music. Experimental results show that the semi-CRF model performs substantially better than previous approaches when trained on a sufficient number of labeled examples and remains competitive when the amount of training data is limited.
Music Performers have their own idiosyncratic way of interpreting a musical piece. A group of skilled performers playing the same piece of music would likely to inject their unique artistic styles in their performances. The variations of the tempo, timing, dynamics, articulation etc. from the actual notated music are what make the performers unique in their performances. This study presents a dataset consisting of four movements of Schuberts ``Sonata in B-flat major, D.960 performed by nine virtuoso pianists individually. We proposed and extracted a set of expressive features that are able to capture the characteristics of an individual performers style. We then present a performer identification method based on the similarity of feature distribution, given a set of piano performances. The identification is done considering each feature individually as well as a fusion of the features. Results show that the proposed method achieved a precision of 0.903 using fusion features. Moreover, the onset time deviation feature shows promising result when considered individually.
We propose a new Statistical Complexity Measure (SCM) to qualify edge maps without Ground Truth (GT) knowledge. The measure is the product of two indices, an emph{Equilibrium} index $mathcal{E}$ obtained by projecting the edge map into a family of edge patterns, and an emph{Entropy} index $mathcal{H}$, defined as a function of the Kolmogorov Smirnov (KS) statistic. This new measure can be used for performance characterization which includes: (i)~the specific evaluation of an algorithm (intra-technique process) in order to identify its best parameters, and (ii)~the comparison of different algorithms (inter-technique process) in order to classify them according to their quality. Results made over images of the South Florida and Berkeley databases show that our approach significantly improves over Pratts Figure of Merit (PFoM) which is the objective reference-based edge map evaluation standard, as it takes into account more features in its evaluation.