Blind Separation of Mixed and Disturbed Correlated Ancient Texts

2009 ◽  
Author(s):  
Shahrouz Posht-Panah ◽  
Masoud Reza Aghabozorgi Sahaf
Keyword(s):  
Blind Separation ◽  
Ancient Texts

A Riemannian approach to blind separation of t-distributed sources

2021 ◽  
Author(s):  
Florent Bouchard ◽  
Arnaud Breloy ◽  
Guillaume Ginolhac ◽  
Alexandre Renaux
Keyword(s):  
Blind Separation

A Critical Study of Violent Asphyxial Deaths with Ancient Perspective

2017 ◽  
Vol 1 (4) ◽  
Author(s):  
Kalpana Denge ◽  
Rupali Gatfane
Keyword(s):  
Present Article ◽  
Modern Science ◽  
Modern Literature ◽  
Critical Study ◽  
Contemporary Science ◽  
Ancient Literature ◽  
Modern Knowledge ◽  
Ancient Texts

Asphyxia is most commonly appearing as a major cause of unnatural deaths. Scattered references can be reviewed in ancient literature regarding asphyxial death. Description of various signs of asphyxial death is given briefly in ancient texts and it is worthwhile to study them with the help of modern science. In ancient literature these asphyxial deaths are described briefly as Kanthapeedan, Dhoomopahat and Udakahat. In modern literature asphyxial deaths are described as hanging, strangulation, suffocation and drowning which occur in homicidal or suicidal purpose or accidental. Viewing these references, asphyxial deaths are studied comprehensively with the object of highlighting it with the help of modern knowledge. Thus present article deals with exploration of ancient references of asphyxial death with the help of contemporary science.

Marcatori conclusivi del discorso diretto in italiano antico

2019 ◽  
Vol 70 (1) ◽  
pp. 105-122
Author(s):  
Davide Mastrantonio
Keyword(s):  
Word Reading ◽  
Old French ◽  
Spoken Word ◽  
Text Segmentation ◽  
Direct Speech ◽  
Unequal Distribution ◽  
Specific Subset ◽  
Ancient Texts

Abstract In this paper we deal with a specific subset of direct speech markers, to which little or no attention has been given so far: the expressions which codify the ending of the direct speech (“marcatori conclusivi del discorso diretto”). We analyse these markers in Old Italian texts, comparing them with their Latin and, in some cases, Old French equivalents. In the introduction (§1), we take into account various general issues related to ancient texts, namely the practice of spoken-word reading and the lack of systematic punctuation marking that helps text segmentation. After that (§2), we classify the different strategies ancient writers had at their disposal to signal that a direct speech is over, hence that what follows has to be interpreted as the narrator voice; the markers are organized in a range from most explicit to most implicit (disse > quando ebbe detto > a queste parole > allora > [Ø]). Thereafter (§3), we focus on two specific markers, the participial marker (detto questo) and the “connector + finite tense” marker (quando ebbe detto questo) in a corpus of nine texts. Though these two markers are roughly synonymic, their occurrence is not uniform among the analysed texts. The explanation of their unequal distribution is that they belong to different discourse traditions (Diskurstraditionen): “quando + finite tense” is a typical expression attested in Romance narrations (the so-called “quand-Satz”), whereas detto questo appears to be dependent on Latin tradition.

La part d’Henri Weil dans l’édition du De la musique attribué à Plutarque (Paris, E. Leroux, 1900)

2017 ◽  
Vol 5 (2) ◽  
pp. 233-265
Author(s):  
Laurent Calvié
Keyword(s):  
Original Condition ◽  
Ancient Greek ◽  
Close Collaboration ◽  
First Time ◽  
Ancient Texts

The Weil-Reinach edition of the De musica attributed to Plutarch is the result of a close collaboration of two among the best philologists and specialists of ancient Greek music active in France between the 19th and the 20th centuries : H. Weil and his pupil Th. Reinach. The latter (who personally provided the collation of the manuscripts, some of the exegetical notes and the index) put together the material, but it was Weil who should be regarded as primarily responsible for the work, whose overall organization and component parts are perfectly consistent with the principles and methods that he had already applied to his previous editions : the subordination of the criticism of the texts, founded on the recension of manuscripts, to their history and interpretation. The interventionism typical of this publication derives from the extremely ambitious target that Weil imposed on all his ecdotic works : the reconstruction not of the corrupt archetype of the extant Byzantine and Humanist manuscripts, but of the original condition of the ancient texts. Viewed in this light, the Weil-Reinach edition of the De musica is a treasure of erudition and intelligence, in which the textual problems of a text, which had been deeply altered since antiquity, are raised for the first time.

scholarly journals Sparse pursuit and dictionary learning for blind source separation in polyphonic music recordings

2021 ◽  
Vol 2021 (1) ◽  
Author(s):  
Sören Schulze ◽  
Emily J. King
Keyword(s):  
Single Channel ◽  
Spectral Characteristics ◽  
Musical Instruments ◽  
Model Parameters ◽  
Blind Separation ◽  
Audio Signals ◽  
Frequency Spectra ◽  
Acoustic Instruments ◽  
Invariant Properties ◽  
Music Recordings

AbstractWe propose an algorithm for the blind separation of single-channel audio signals. It is based on a parametric model that describes the spectral properties of the sounds of musical instruments independently of pitch. We develop a novel sparse pursuit algorithm that can match the discrete frequency spectra from the recorded signal with the continuous spectra delivered by the model. We first use this algorithm to convert an STFT spectrogram from the recording into a novel form of log-frequency spectrogram whose resolution exceeds that of the mel spectrogram. We then make use of the pitch-invariant properties of that representation in order to identify the sounds of the instruments via the same sparse pursuit method. As the model parameters which characterize the musical instruments are not known beforehand, we train a dictionary that contains them, using a modified version of Adam. Applying the algorithm on various audio samples, we find that it is capable of producing high-quality separation results when the model assumptions are satisfied and the instruments are clearly distinguishable, but combinations of instruments with similar spectral characteristics pose a conceptual difficulty. While a key feature of the model is that it explicitly models inharmonicity, its presence can also still impede performance of the sparse pursuit algorithm. In general, due to its pitch-invariance, our method is especially suitable for dealing with spectra from acoustic instruments, requiring only a minimal number of hyperparameters to be preset. Additionally, we demonstrate that the dictionary that is constructed for one recording can be applied to a different recording with similar instruments without additional training.

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