On the use of NMF for onset detection in poliphonic piano music

2011 ◽  
Author(s):  
Giovanni Costantini ◽  
Massimiliano Todisco ◽  
Giovanni Saggio ◽  
Renzo Perfetti
Keyword(s):  
Piano Music ◽  
Onset Detection

Automatic Transcription of Piano Music Using Audio-Vision Fusion

2013 ◽  
Vol 333-335 ◽  
pp. 742-748
Author(s):  
Yu Long Wan ◽  
Zhi Gang Wu ◽  
Ruo Hua Zhou ◽  
Yong Hong Yan
Keyword(s):  
High Performance ◽  
Matched Filter ◽  
Piano Music ◽  
Onset Detection ◽  
Music Transcription ◽  
Transcription System ◽  
Hands On ◽  
Automatic Transcription ◽  
Piano Transcription ◽  
Application Specific

Over the last decade many sophisticated and application-specific methods have been proposed for transcription of polyphonic music. However, the performance seems to have reached a limit. This paper describes a high-performance piano transcription system with two main contributions. Firstly, a new onset detection method is proposed using a specific energy envelope matched filter, which has been proved very suitable for piano music. Secondly, a computer-vision method is proposed to enhance audio-only piano music transcription, using the recognition of the player's hands on the piano keyboard. We carried out comparable experiments respectively for onset detection and overall system based on the MAPS database and the video database. The results were compared with the best piano transcription system in MIREX 2008, which still kept the best performance in piano subset till MIREX 2012. The results show that the system outperforms the state-of-art method substantially.

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  
Keyword(s):  
Performance Practice ◽  
Piano Music ◽  
Traumatic Experiences ◽  
Special Role ◽  
Native Culture ◽  
History Of ◽  
The Subject ◽  
And Performance ◽  
The Many ◽  
Special Meaning

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

Creating Space For The Piano (Barriers And Permeability Of Social Space)

2020 ◽  
Vol 2 (09) ◽  
pp. 264-272
Author(s):  
Sharipova A.R. ◽  
Sidikova A.M.
Keyword(s):  
Music Education ◽  
Social Space ◽  
Piano Music ◽  
The State

The article is devoted to the issue of the formation and development of piano art in Uzbekistan. The material characterizes the interaction between composers, interpreters and listeners of piano music. Using such methods as comparative-historical, theoretical-analytical, musical-critical, performing, the analysis of the state of the piano art of Uzbekistan is carried out. The topic under consideration will be of interest to specialists working in the field of music education. The issue of the state of the piano art in Uzbekistan requires further study.

scholarly journals Spectral Pitch Similarity is a Predictor of Perceived Change in Sound- as Well as Note-Based Music

2019 ◽  
Vol 2 ◽  
pp. 205920431984735
Author(s):  
Roger T. Dean ◽  
Andrew J. Milne ◽  
Freya Bailes
Keyword(s):  
Time Series ◽  
Piano Music ◽  
Individual Response ◽  
Discrete Events ◽  
Acoustic Intensity ◽  
Spectral Parameters ◽  
Cross Sectional ◽  
Perceived Change ◽  
Predictive Role ◽  
The Individual

Spectral pitch similarity (SPS) is a measure of the similarity between spectra of any pair of sounds. It has proved powerful in predicting perceived stability and fit of notes and chords in various tonal and microtonal instrumental contexts, that is, with discrete tones whose spectra are harmonic or close to harmonic. Here we assess the possible contribution of SPS to listeners’ continuous perceptions of change in music with fewer discrete events and with noisy or profoundly inharmonic sounds, such as electroacoustic music. Previous studies have shown that time series of perception of change in a range of music can be reasonably represented by time series models, whose predictors comprise autoregression together with series representing acoustic intensity and, usually, the timbral parameter spectral flatness. Here, we study possible roles for SPS in such models of continuous perceptions of change in a range of both instrumental (note-based) and sound-based music (generally containing more noise and fewer discrete events). In the first analysis, perceived change in three pieces of electroacoustic and one of piano music is modeled, to assess the possible contribution of (de-noised) SPS in cooperation with acoustic intensity and spectral flatness series. In the second analysis, a broad range of nine pieces is studied in relation to the wider range of distinctive spectral predictors useful in previous perceptual work, together with intensity and SPS. The second analysis uses cross-sectional (mixed-effects) time series analysis to take advantage of all the individual response series in the dataset, and to assess the possible generality of a predictive role for SPS. SPS proves to be a useful feature, making a predictive contribution distinct from other spectral parameters. Because SPS is a psychoacoustic “bottom up” feature, it may have wide applicability across both the familiar and the unfamiliar in the music to which we are exposed.

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