MusicSarreV3, PascalFrancis, Curation, bibRecord, 000008

Towards Cross-Version Harmonic Analysis of Music

Identifieur interne : 000008 ( PascalFrancis/Curation ); précédent : 000007; suivant : 000009

Towards Cross-Version Harmonic Analysis of Music

Auteurs : Sebastian Ewert [Allemagne] ; Meinard Muller [Allemagne] ; Verena Konz [Allemagne] ; Daniel Müllensiefen [Royaume-Uni] ; Geraint A. Wiggins [Royaume-Uni]

Source :

IEEE transactions on multimedia [ 1520-9210 ] ; 2012.

RBID : Pascal:12-0271690

Descripteurs français

Pascal (Inist)
- Reproduction son, Alignement, Recherche information, Emission sonore enregistrée, Synchronisation, Musique, Gestion version, Annotation, Enregistrement son, Acoustique musicale, Analyse harmonique, Calcul symbolique, Analyse quantitative, ., Acoustique audio, Analyse tâche.
Wicri :
- topic : Musique, Analyse quantitative.

English descriptors

KwdEn :
- Alignment, Annotation, Audio acoustics, Harmonic analysis, Information retrieval, Music, Musical acoustics, Quantitative analysis, Sound record, Sound recording, Sound reproduction, Symbolic computation, Synchronization, Task analysis, Version management.

Abstract

For a given piece of music, there often exist multiple versions belonging to the symbolic (e.g., MIDI representations), acoustic (audio recordings), or visual (sheet music) domain. Each type of information allows for applying specialized, domain-specific approaches to music analysis tasks. In this paper, we formulate the idea of a cross-version analysis for comparing and/or combining analysis results from different representations. As an example, we realize this idea in the context of harmonic analysis to automatically evaluate MIDI-based chord labeling procedures using annotations given for corresponding audio recordings. To this end, one needs reliable synchronization procedures that automatically establish the musical relationship between the multiple versions of a given piece. This becomes a hard problem when there are significant local deviations in these versions. We introduce a novel late-fusion approach that combines different alignment procedures in order to identify reliable parts in synchronization results. Then, the cross-version comparison of the various chord labeling results is performed only on the basis of the reliable parts. Finally, we show how inconsistencies in these results across the different versions allow for a quantitative and qualitative evaluation, which not only indicates limitations of the employed chord labeling strategies but also deepens the understanding of the underlying music material.

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A11	`03`	`1`		`@1 KONZ (Verena)`
A11	`04`	`1`		`@1 MÜLLENSIEFEN (Daniel)`
A11	`05`	`1`		`@1 WIGGINS (Geraint A.)`
A14	`01`			`@1 Multimedia Signal Processing Group, Department of Computer Science III, University of Bonn @2 Bonn @3 DEU @Z 1 aut.`
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A14	`03`			`@1 Department of Psychology, Goldsmiths, University of London @2 London @3 GBR @Z 4 aut.`
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C03	`08`	`X`	`SPA`	`@0 Anotación @5 20`
C03	`09`	`X`	`FRE`	`@0 Enregistrement son @5 21`
C03	`09`	`X`	`ENG`	`@0 Sound recording @5 21`
C03	`09`	`X`	`SPA`	`@0 Registro sonido @5 21`
C03	`10`	`X`	`FRE`	`@0 Acoustique musicale @5 22`
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C03	`16`	`X`	`FRE`	`@0 Analyse tâche @4 CD @5 97`
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C03	`16`	`X`	`SPA`	`@0 Análisis de tareas @4 CD @5 97`
N21				`@1 205`
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Pascal:12-0271690

Le document en format XML

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<front><div type="abstract" xml:lang="en">For a given piece of music, there often exist multiple versions belonging to the symbolic (e.g., MIDI representations), acoustic (audio recordings), or visual (sheet music) domain. Each type of information allows for applying specialized, domain-specific approaches to music analysis tasks. In this paper, we formulate the idea of a cross-version analysis for comparing and/or combining analysis results from different representations. As an example, we realize this idea in the context of harmonic analysis to automatically evaluate MIDI-based chord labeling procedures using annotations given for corresponding audio recordings. To this end, one needs reliable synchronization procedures that automatically establish the musical relationship between the multiple versions of a given piece. This becomes a hard problem when there are significant local deviations in these versions. We introduce a novel late-fusion approach that combines different alignment procedures in order to identify reliable parts in synchronization results. Then, the cross-version comparison of the various chord labeling results is performed only on the basis of the reliable parts. Finally, we show how inconsistencies in these results across the different versions allow for a quantitative and qualitative evaluation, which not only indicates limitations of the employed chord labeling strategies but also deepens the understanding of the underlying music material.</div>
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<fC03 i1="07" i2="X" l="ENG"><s0>Version management</s0>
<s5>19</s5>
</fC03>
<fC03 i1="07" i2="X" l="SPA"><s0>Gestión versión</s0>
<s5>19</s5>
</fC03>
<fC03 i1="08" i2="X" l="FRE"><s0>Annotation</s0>
<s5>20</s5>
</fC03>
<fC03 i1="08" i2="X" l="ENG"><s0>Annotation</s0>
<s5>20</s5>
</fC03>
<fC03 i1="08" i2="X" l="SPA"><s0>Anotación</s0>
<s5>20</s5>
</fC03>
<fC03 i1="09" i2="X" l="FRE"><s0>Enregistrement son</s0>
<s5>21</s5>
</fC03>
<fC03 i1="09" i2="X" l="ENG"><s0>Sound recording</s0>
<s5>21</s5>
</fC03>
<fC03 i1="09" i2="X" l="SPA"><s0>Registro sonido</s0>
<s5>21</s5>
</fC03>
<fC03 i1="10" i2="X" l="FRE"><s0>Acoustique musicale</s0>
<s5>22</s5>
</fC03>
<fC03 i1="10" i2="X" l="ENG"><s0>Musical acoustics</s0>
<s5>22</s5>
</fC03>
<fC03 i1="10" i2="X" l="SPA"><s0>Acústica musical</s0>
<s5>22</s5>
</fC03>
<fC03 i1="11" i2="X" l="FRE"><s0>Analyse harmonique</s0>
<s5>23</s5>
</fC03>
<fC03 i1="11" i2="X" l="ENG"><s0>Harmonic analysis</s0>
<s5>23</s5>
</fC03>
<fC03 i1="11" i2="X" l="SPA"><s0>Análisis armónico</s0>
<s5>23</s5>
</fC03>
<fC03 i1="12" i2="X" l="FRE"><s0>Calcul symbolique</s0>
<s5>24</s5>
</fC03>
<fC03 i1="12" i2="X" l="ENG"><s0>Symbolic computation</s0>
<s5>24</s5>
</fC03>
<fC03 i1="12" i2="X" l="SPA"><s0>Cálculo simbólico</s0>
<s5>24</s5>
</fC03>
<fC03 i1="13" i2="X" l="FRE"><s0>Analyse quantitative</s0>
<s5>25</s5>
</fC03>
<fC03 i1="13" i2="X" l="ENG"><s0>Quantitative analysis</s0>
<s5>25</s5>
</fC03>
<fC03 i1="13" i2="X" l="SPA"><s0>Análisis cuantitativo</s0>
<s5>25</s5>
</fC03>
<fC03 i1="14" i2="X" l="FRE"><s0>.</s0>
<s4>INC</s4>
<s5>82</s5>
</fC03>
<fC03 i1="15" i2="X" l="FRE"><s0>Acoustique audio</s0>
<s4>CD</s4>
<s5>96</s5>
</fC03>
<fC03 i1="15" i2="X" l="ENG"><s0>Audio acoustics</s0>
<s4>CD</s4>
<s5>96</s5>
</fC03>
<fC03 i1="15" i2="X" l="SPA"><s0>Acústica audio</s0>
<s4>CD</s4>
<s5>96</s5>
</fC03>
<fC03 i1="16" i2="X" l="FRE"><s0>Analyse tâche</s0>
<s4>CD</s4>
<s5>97</s5>
</fC03>
<fC03 i1="16" i2="X" l="ENG"><s0>Task analysis</s0>
<s4>CD</s4>
<s5>97</s5>
</fC03>
<fC03 i1="16" i2="X" l="SPA"><s0>Análisis de tareas</s0>
<s4>CD</s4>
<s5>97</s5>
</fC03>
<fN21><s1>205</s1>
</fN21>
<fN44 i1="01"><s1>OTO</s1>
</fN44>
<fN82><s1>OTO</s1>
</fN82>
</pA>
</standard>
</inist>
</record>

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Towards Cross-Version Harmonic Analysis of Music

Towards Cross-Version Harmonic Analysis of Music

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Abstract

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