The Reliability of Transcription

List, George

doi:10.2307/850519

Cited by 23 publications

(14 citation statements)

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“…In the automatic transcription literature, it has been reported in many studies that there is no unique ground truth for manual transcription even among well-trained musicians (Cemgil, 2004). Similar evidence was presented in musicology some decades ago, where a group of subjects transcribed with generally more concurrence than divergence, however agreeing more in terms of pitch than in duration (List, 1974). For these reasons, for evaluation, Gedik prefers to gather a set of transcriptions including the automatic transcription and a few manual transcriptions and provide cross-comparison of the all set.…”

Section: Automatic Transcriptionmentioning

confidence: 61%

Computational Analysis of Turkish Makam Music: Review of State-of-the-Art and Challenges

Bozkurt

Ayangil

Holzapfel

2014

Journal of New Music Research

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This text targets a review of the computational analysis literature for Turkish makam music, discussing in detail the challenges involved and presenting a perspective for further studies. For that purpose, the basic concepts of Turkish makam music and the description of melodic, rhythmic and timbral aspects are considered in detail. Studies on tuning analysis, automatic transcription, automatic melodic analysis, automatic makam and usul detection are reviewed. Technological and data resource needs for further advancement are discussed and available sources are presented. Osmanlı/Türk (sanat) musikisi') and exclude folk and popular genres, while most of our discussions would still find some relevance for these excluded genres. When we provide analysis results to demonstrate an approach, the data sets used include pieces from a time span of 3-4 centuries from composers like Itri, İsmail Dede Efendi, Hacı Arif Bey, Tanburi Cemil Bey and Sadettin Kaynak. 2 We use the spelling "makam" here, which is used in Turkey, because we mainly refer to the concepts of music traditions practiced nowadays in Turkey. 3 Yekta cites the following reference for this definition: Dechevrens, A. (1898). Etudes de science musicale. 1-11, Paris. 4 The terms like çeşni, güçlü, karar and seyir are explained in various sections of the text. In addition short descriptions are provided in the glossary section at the end. 11 Signell's book (Signell, 2008) presents most of the crucial parts of this theory in a compact form. 12 We use this term because we want to avoid the misleading dichotomy of Western and non-Western music. 13 Should be Uşşak flavor. Unfortunately the eager effort of the renowned master Murat Aydemir is overshadowed by occasional errors in the representation. 14 Should be Rast flavor with acem pitch. This error is possibly due to a translation error.

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Section: Automatic Transcriptionmentioning

confidence: 61%

Computational Analysis of Turkish Makam Music: Review of State-of-the-Art and Challenges

Bozkurt

Ayangil

Holzapfel

2014

Journal of New Music Research

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“…Uma transcrição, eficiente ou não, dependerá da habilidade, treinamento auditivo e conhecimento da realidade cultural onde a peça está inserida. (VICUNA, 1991) Fundamentamos o uso de transcrição musical a partir de algumas opiniões, List (1974) que, comparando transcrições realizadas por oito alunos (visava medir a altura e duração dos sons), tendo como apoio suas percepções auditivas -que eram anotadas no pentagrama -e gráficos eletrônicos obtidos através de melógrafos de tipos diferentes, conclui que não devemos subestimar a capacidade humana nesta tarefa. Para List, as transcrições feitas com suporte auditivo são suficientemente acuradas e válidas para análises musicais.…”

Section: A Música Do Congado De Inhaúmaunclassified

Aspectos Internos do Fazer Musical num Congado de Minas Gerais

Zamith

1995

Rev. musica

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Entre as tradições populares do Estado de Minas Gerais, o "Congado", destaca-se como sendo uma das manifestações de maior expressividade. Trata-se de um folguedo popular brasileiro, de caráter religioso, que se apresenta em forma de cortejo real incluindo cantos, danças e, freqüentemente, entrechos com representações teatrais. Nossa pesquisa, que teve início em 1988, prosseguindo nos anos subseqüentes, foi centrada no Congado Guarda N. Sra. do Rosário de Themístocles Pereira Leão, da cidade de Inhaúma, Minas Gerais. A música é, sem dúvida alguma, a grande constância da festa. Está presente nos três dias, nas diferentes etapas, servindo de suporte para a realização de todas as atividades. Expressa-se através de cantos e toques da Guarda N. Sra. do Rosário, de hinos religiosos da Igreja Católica, de repertório executado pela banda de música local na procissão do domingo e por música sertaneja, veiculada pelos meios de comunicação de massa e ouvida ao lado da capela. A importância da música é constatada não somente pela quantidade do repertório, mas também pela variedade de formas sacras e profanas com que ela se expressa, o que nos leva a questionar sobre o que seria deste Congado e da festa do Rosário sem a música. Para este artigo, centralizaremos nossas observações exclusivamente no repertório executado pela Guarda, por ser o mais tradicional. Sua aprendizagem se baseia na tradição oral, com uma forma de transmissão do saber eminentemente prática.

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“…A certain point in this span must therefore be chosen as the onset. Given the reported variability in the notation of rhythmic aspects of music even among expert transcribers [41], it is assumed that onset annotation is highly dependent on the person, imprecise and difficult to generalise.…”

Section: Static Metricsmentioning

confidence: 99%

Interactive user correction of automatically detected onsets: approach and evaluation

Valero-Mas

Iñesta

2017

J AUDIO SPEECH MUSIC PROC.

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Onset detection still has room for improvement, especially when dealing with polyphonic music signals. For certain purposes in which the correctness of the result is a must, user intervention is hence required to correct the mistakes performed by the detection algorithm. In such interactive paradigm, the exactitude of the detection can be guaranteed at the expense of user's work, being the effort required to accomplish the task, the value that has to be both quantified and reduced. The present work studies the idea of interactive onset detection and proposes a methodology for assessing the user's workload, as well as a set of interactive schemes for reducing such workload when carrying out this detection task. Results show that the evaluation strategy proposed is able to quantitatively assess the invested user effort. Also, the presented interactive schemes significantly facilitate the correction task compared with the manual annotation. Keywords: User interaction, Onset detection, Information retrieval, Audio analysisMusic signals may be decomposed into sound objects by means of signal processing techniques. Note events constitute an example of musical signal segmentation, and can be defined by both the moment the note startsthe onset-and its end-the offset [ [8,9]. To check the performance of current stateof-the-art onset detection methods, the reader is referred to the results obtained in the annual Music Information Retrieval Evaluation eXchange (MIREX) contest.The results obtained by current state of the art may be considered sufficiently accurate for applications such as audio structure analysis or digital audio effects, in which onset information simply constitutes a support information for the task rather than its main description. Nevertheless, for specific cases as note tracking in automatic music transcription, the preciseness of onset events remarkably influences the overall success of the task.Note that, while onset estimation is generally used as an intermediate process within more complex MIR systems, this task may be also considered as a goal by itself. As an example, the work in [10] contemplates the use of onset information for identifying music pieces by comparing timing deviations between estimated onsets from interpretations of the pieces and its reference annotations from the scores.The aforementioned cases constitute particular examples in which very precise onset times are required. Generally, research in such cases implies the manual annotation of corpora since no single onset estimation Audio, Speech, and Music Processing (2017) 2017:15 Page 2 of 14 algorithm guarantees a perfect retrieval. Whereas this performance limitation is inherent to any research topic, some authors in the MIR community suggest that a glass ceiling is being reached, at least in the case of some commonly addressed tasks [11,12]. It thus appears interesting to explore alternative research paradigms that are capable of dealing with these limitations. Valero-Mas and Iñesta EURASIP Journal onThe so-called...

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The Reliability of Transcription

Cited by 23 publications

References 0 publications

Computational Analysis of Turkish Makam Music: Review of State-of-the-Art and Challenges

Computational Analysis of Turkish Makam Music: Review of State-of-the-Art and Challenges

Aspectos Internos do Fazer Musical num Congado de Minas Gerais

Interactive user correction of automatically detected onsets: approach and evaluation

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