The Representation Levels of Music Information

Vinet, Hugues

doi:10.1007/978-3-540-39900-1_17

Cited by 11 publications

(9 citation statements)

References 6 publications

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“…Hence, to put the discussion into a more general perspective, it is important to understand that my personal needs as a composer are actually grounded on fundamental underlying questions that have been of primary importance for several communities (Vinet, 2003):…”

Section: Why Contemporary Music Is Important For the Mir Communitymentioning

confidence: 99%

Music Information Retrieval and Contemporary Classical Music: A Successful Failure

Cella

2020

Transactions of the International Society for Music Information Retrieval

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This paper is about the story of my relationship, as a contemporary music composer, with computational tools that are situated in the areas of signal processing, machine learning and music information retrieval (MIR). I believe that sharing this story can be useful to the MIR community since it illustrates the problems that can arise when you try to use these techniques in the context of contemporary music creation. Since this is a personal story, I will refer to experiences that I had during about fifteen years of usage of MIR-related technologies. I will show how these technologies tried to (unsuccessfully) shape my musical thinking and why I believe that some of them have come to an end. Finally, I will propose new possible directions for the future of MIR.

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Section: Why Contemporary Music Is Important For the Mir Communitymentioning

confidence: 99%

Music Information Retrieval and Contemporary Classical Music: A Successful Failure

Cella

2020

Transactions of the International Society for Music Information Retrieval

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“…the way these internal data are mediated to the user through man-machine interfaces. These notions were first introduced in [Vinet 2003] and the following description is to be considered as an update and refinement of the initial concept and terminologies. The adjective semantic was not initially chosen and remains relatively inappropriate in the case of music that is an abstract mode of expression and communicationexcept in the case of a few exceptions at the border of musique concrète and organized environmental sounds.…”

Section: The Representation Levels Of Musical Informationmentioning

confidence: 99%

Science and Technology of Music and Sound: The IRCAM Roadmap

Vinet

2007

Journal of New Music Research

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This article presents the roadmap for the research and development activities at IRCAM for the period from 2007 to 2010. Published in the context of the achievement of the Sound and Music Computing Roadmap by the S2S2 Consortium, it aims to deliver an extensive and synthetic vision of the identified directions for the research at IRCAM, through noticeably the introduction of the unifying notion of representation levels of musical information. The addressed subjects include sound analysis/synthesis, physical models, sound spatialisation, computer-aided composition, and interdisciplinary transversal themes concerning the links between the signal and symbolic worlds and more generally between different levels of music representations, the renewal of concepts underlying the management of time and interaction, and the issue of the elicitation and mediation of the musical knowledge.

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“…As a matter of fact, even if new network-based distribution models, facilitated by the availability of good quality compression formats, have started to develop, they do not provide any radical change on the kinds of used musical representations. These representations still rely on stereo recordings, whereas the current state-of-the-art in music technology enables a rich set of representation types along several complementary abstraction levels: the physical, signal, symbolic and knowledge levels [17]. This limitation on supported music representations has direct consequences on possibilities of manipulation of music materials offered to music lovers, which have been limited up to now, even on the most recent Internet distribution systems, to very basic controls : play, stop, track selection, volume, equalization, balance, etc.…”

Section: Project Background and Main Objectivesmentioning

confidence: 99%

The SemanticHIFI project: content-based management and manipulation of musical recordings

Vinet

2005

2nd European Workshop on the Integration of Knowledge, Semantics and Digital Media Technology (EWIMT 2005)

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The SemanticHIFI project aims at designing and prototyping tomorrow's Hi-fi systems, which will provide music lovers with innovative functions of management and manipulation of musical contents. The limitations of current equipments are mainly related to those of the music distribution media (album-based audio recordings in stereo format), with poor control features and interfaces (album/ track selection, play, stop, volume, etc.). Enabling the manipulation of richer media and related metadata (either distributed with the audio recordings or computed by the user using dedicated indexing tools) opens a wide range of new functionalities: personal indexing and classification of music titles, content-based browsing in personal catalogues, browsing within titles with automatic segmentation and de-mixing tools, 3D audio rendering and assisted mixing features, etc. Moreover, the manipulation of interactive music contents will be made accessible to music consumers, through dedicated performing, and authoring tools. They will then have the possibility of publishing and sharing their personal work with others, through a dedicated peer-to-peer sharing middleware specifically designed for preserving the rights of the used digital media. All these features are the result of the various R&D tasks and experiments performed as part of the project and represent the state-of-the art in various research fields : digital audio signal processing, music information retrieval, man-machine interfaces and peer-to-peer networks. Moreover, the project includes an integration phase, which aims at producing full-featured applications prototypes, designed to fit identified market needs, through technical choices compatible with these markets. This article proposes an overview of the project, by presenting its background and objectives, the main scientific issues and breakthroughs it addresses in relation to the description and extraction of musical information, the main applications features it aims at developing and choices made for their integration into application prototypes compliant with market needs.

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The Representation Levels of Music Information

Cited by 11 publications

References 6 publications

Music Information Retrieval and Contemporary Classical Music: A Successful Failure

Music Information Retrieval and Contemporary Classical Music: A Successful Failure

Science and Technology of Music and Sound: The IRCAM Roadmap

The SemanticHIFI project: content-based management and manipulation of musical recordings

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