Titlebook: Computer Music Modeling and Retrieval; Second International Uffe Kock Wiil Conference proceedings 2005 Springer-Verlag Berlin Heidelberg 20

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Perceptive and Cognitive Evaluation of a Piano Synthesis Model involved in sound production. The specificity of musical sounds is that they are intended for perception and judgments by human beings. It is therefore necessary, in order to evaluate the acoustic qualities of a musical instrument or a sound model, to introduce a research approach which takes into

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The Clarinet Timbre as an Attribute of Expressivenessationship between the clarinet timbre and the interpretation. Sounds have been obtained by varying two important control parameters of the synthesis model, namely the blowing pressure and the aperture of the reed channel. These parameters are also used to control real reed instruments. Four differen

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0302-9743 Overview: Includes supplementary material: 978-3-540-24458-5978-3-540-31807-1Series ISSN 0302-9743 Series E-ISSN 1611-3349

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https://doi.org/10.1007/b105507acoustic signal processing; algorithmic music; algorithms; cognition; computer music; digital libraries; g

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978-3-540-24458-5Springer-Verlag Berlin Heidelberg 2005

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Create Innovative Portfolio Alternatives,ng approach to voice separation based on perceptual principles. The algorithm runs in .(..) time, uses only pitch height and event boundaries, and requires no user-defined parameters. The method segments a piece into contigs according to voice count, then reconnects fragments in adjacent contigs usi

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https://doi.org/10.1007/978-981-16-2082-9 is obtained for each frame, based on the output of an ear model and periodicity detection using correlograms. Trajectories of the most salient pitches are then constructed. Next, note candidates are obtained by trajectory segmentation (in terms of frequency and pitch salience variations). Too short

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https://doi.org/10.1007/978-94-015-9145-4of optimal time-domain methods. Our analysis is driven by sinusoidal peaks extracted by a windowed STFT. Given .. and a reference amplitude (..), peak frequency/amplitude observations are modeled probabilistically in order to be robust to undetected harmonics, spurious peaks, skewed peak estimates,

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Shirley M. Martínez,Omar S. Gómezived to be faster will have higher Perceptual tempo than music perceived to be slower. Existing work on using computer system to automatically estimate the tempo of a piece of music mainly focuses on estimating the Score tempo or estimating the ’Foot-tapping’ tempo. However, the existing work is usu