| 1. |
- Ahlbäck, Sven, 1960-
(författare)
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What does AI learn from music? : on the problem of ground truth in music and the power of concepts
- 2020
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Konferensbidrag (refereegranskat)abstract
- Many AI applications on music relates to music theoretical models, in the sense of musical concepts and ideas of how music works, that are not always made explicit, explicitly discussed or questioned. Already the choice of representations of music and sound as well as the selection of data for training models can influence models and creative output greatly. Here we will give some examples of problems arising when modelling basic musical features, from the experience of developing automatic music notation.
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| 2. |
- Demirel, Emir, et al.
(författare)
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A RECURSIVE SEARCH METHOD FOR LYRICS ALIGNMENT
- 2020
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Ingår i: https://www.music-ir.org/mirex/wiki/2020:MIREX2020_Results.
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Konferensbidrag (refereegranskat)abstract
- Audio-to-lyrics transcription and alignment requires strong acoustic and language models that are trained on in-domain data and a well-adapted pronunciation model for singing. Even in the presence of such models, the length of audio segments for decoding remains a challenge. In this year’s MIREX submission, we present a recursive search method that splits the audio with respect to anchor- ing words for performing alignment on shorter audio seg- ments. The recursive is applied through gradually restrict- ing the language model and search space after each search iteration. We apply a final pass of forced alignment on the segmented audio to obtain timings for every word in the input song lyrics. According to the initial experiments, our system is robust to various musical genre while being executable on local machines with low memory and com- putational resources.
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| 3. |
- Demirel, Emir, et al.
(författare)
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Automatic Lyrics Transcription using Dilated Convolutional Neural Networks with Self-Attention
- 2020
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Konferensbidrag (refereegranskat)abstract
- Speech recognition is a well developed research field so that the current state of the art systems are being used in many applications in the software industry, yet as by today, there still does not exist such robust system for the recognition of words and sentences from singing voice. This paper proposes a complete pipeline for this task which may commonly be referred as automatic lyrics transcription (ALT). We have trained convolutional time-delay neural networks with self-attention on monophonic karaoke recordings using a sequence classification objective for building the acoustic model. The dataset used in this study, DAMP - Sing! 300x30x2 [1] is filtered to have songs with only English lyrics. Different language models are tested including MaxEnt and Recurrent Neural Networks based methods which are trained on the lyrics of pop songs in English. An in-depth analysis of the self-attention mechanism is held while tuning its context width and the number of attention heads. Using the best settings, our system achieves significant improvement to the state-of-the-art in ALT and provides a new baseline for the task.
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| 4. |
- Frid, Emma, 1988-, et al.
(författare)
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Haptic Music : Exploring Whole-Body Vibrations and Tactile Sound for a Multisensory Music Installation
- 2020
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Ingår i: Proceedings of the Sound and Music Computing Conference (SMC) 2020. - Torino, Italy. ; , s. 68-75
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Konferensbidrag (refereegranskat)abstract
- This paper presents a study on the composition of haptic music for a multisensory installation and how composers could be aided by a preparatory workshop focusing on the perception of whole-body vibrations prior to such a composition task. Five students from a Master’s program in Music Production were asked to create haptic music for the installation Sound Forest. The students were exposed to a set of different sounds producing whole-body vibrations through a wooden platform and asked to describe perceived sensations for respective sound. Results suggested that the workshop helped the composers successfully complete the composition task and that awareness of haptic possibilities of the multisensory installation could be improved through training. Moreover, the sounds used as stimuli provided a relatively wide range of perceived sensations, ranging from pleasant to unpleasant. Considerable intra-subject differences motivate future large-scale studies on the perception of whole-body vibrations in artistic music practice.
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| 5. |
- Frid, Emma, 1988-, et al.
(författare)
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Sound Forest - Evaluation of an Accessible Multisensory Music Installation
- 2019
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Ingår i: Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems. - New York, NY, USA : ACM. - 9781450359702 ; , s. 1-12
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Konferensbidrag (refereegranskat)abstract
- Sound Forest is a music installation consisting of a room with light-emitting interactive strings, vibrating platforms and speakers, situated at the Swedish Museum of Performing Arts. In this paper we present an exploratory study focusing on evaluation of Sound Forest based on picture cards and interviews. Since Sound Forest should be accessible for everyone, regardless age or abilities, we invited children, teens and adults with physical and intellectual disabilities to take part in the evaluation. The main contribution of this work lies in its fndings suggesting that multisensory platforms such as Sound Forest, providing whole-body vibrations, can be used to provide visitors of diferent ages and abilities with similar associations to musical experiences. Interviews also revealed positive responses to haptic feedback in this context. Participants of diferent ages used diferent strategies and bodily modes of interaction in Sound Forest, with activities ranging from running to synchronized music-making and collaborative play.
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| 6. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A comparative study of professional music production methods in theage of streaming
- 2020
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Konferensbidrag (refereegranskat)abstract
- Although Sweden is a small country, the Swedish music exports have been successful for many years. In our ongoing research project: Searching for Sophia in music production, we study how various aspects linked to music production may have contributed to the Swedish music industry´s international achievements. In this sub-study we focus on production methods available today, including digital production tools for music, and compare those with the production methods that were used before the age of streaming, in the late 1990s. Several previous studies focus on the technological development of digital music production tools. However, surprisingly little attention has been directed towards how such tools can affect professional musical creativity and productivity. This sub-study includes a case study of the Swedish music producer Dag Volle (1963–1998), also known as Denniz PoP. Volle had some unique music producer skills and also developed new innovative music production methods. Previous research has so far largely ignored his works despite his importance for the success of Swedish music exports. Denniz PoP is also remembered as mentor of Martin Sandberg [Max Martin] and therefore we analyze how the new tools and methods, that have been added over the years, may have affected the creative process of Sandberg and other successful Swedish music producers. The empirical material includes published sources of various kinds as well as interviews, conversations and written communication with some of Volle's closest associates who still are internationally active as music producers. The results indicate, firstly, that digital tools can help but also hinder creativity, and secondly, that several of the most important aspects of Volle's strategy as a music producer, for example to be driven by intrinsic motivation and by implementing music productions through collaborative processes, are still very relevant today - in the age of streaming.
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| 7. |
- Gullö, Jan-Olof, 1961-
(författare)
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Don’t forget about MIDI! A case study of an innovative church organ recording
- 2019
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Konferensbidrag (refereegranskat)abstract
- What is the best way to record that big beast? This issue is central to many of uswho have faced the challenge of recording one of the perhaps most traditional of allmusical instruments: Church Organ. This text describes a recording project wheremodern music production technology innovatively was used to record a churchorgan. The primal purpose of the recordings was to make a documentation of howthe recorded church organ sounds after a major renovation. One problem was thatdisturbing road noise from traffic close to the church made it very difficult to recordin the daytime. Therefore the recordings were done in the night when thesurroundings were more silent. During the renovation, a new digitally controlledremote console was installed which is connected with the old pipe organ in thestands. MIDI is used for musical communication between the remote console andthe organ. MIDI technology was used during the production work in an innovativeway solving some of the production problems. Instead of playing the music liveduring the recording sessions, the music was first recorded digitally in musicproduction software using midi sequencer software. This was carried out in daytimeover a long time period. During the actual acoustic recordings the organist, insteadof playing live, started playing back the pre-recorded music live in the organ. And allthe music was recorded acoustically during one night. The recordings resulted in aCD-record that is a true documentation of how the organ sounds live, even thoughthe recordings actually were programmed over a long time. This technology opens up for innovative options for e.g. future compositional work or artistic performances.Experiences från this project also emphasizes the importance of developing futurework as well as education where art and technology can cooperate and strengtheneach other.
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| 8. |
- Gullö, Jan-Olof, 1961-
(författare)
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I en snårskog av traditioner : musikproduktion och musikteknik i den högre musikutbildningen utifrån ett svenskt perspektiv
- 2020. - 1
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Ingår i: Music Technology in Education. - Oslo : Cappelen Damm Akademisk. - 9788202652258 ; , s. 23-50
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Bokkapitel (refereegranskat)abstract
- The purpose of this study is to identify traditions that can be valued as important in Swedish higher education in music production and music technology, to explore what characterizes such traditions and how they can be important for students in music production education. The research material consists of a selec- tion of previous research and other literature that concerns music production and traditions in higher education. A knowledge-critical analysis method and a peda- gogical model for higher education with a focus on what the students do and how they relate to teaching and education have been used to analyse the research mate- rial. The analysis shows that there are many different traditions in higher music education. Some traditions are very old, and some are also difficult to interpret and therefore the understanding of such traditions can be challenging for both students and teachers in higher education in music production and music technology.
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| 9. |
- Hansen, Kjetil Falkenberg, Docent, 1972-, et al.
(författare)
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Student involvement in sound and music computing research : Current practices at KTH and KMH
- 2019
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Ingår i: Combined proceedings of the Nordic Sound and Music Computing Conference 2019 and the Interactive Sonification Workshop 2019. - Stockholm. ; , s. 36-42
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Konferensbidrag (refereegranskat)abstract
- To engage students in and beyond course activities has been a working practice both at KTH Sound and Music Computing group and at KMH Royal College of Music since many years. This paper collects experiences of involving students in research conducted within the two institutions. We describe how students attending our courses are given the possibility to be involved in our research activities, and we argue that their involvement both contributes to develop new research and benefits the students in the short and long term. Among the assignments, activities, and tasks we offer in our education programs are pilot experiments, prototype development, public exhibitions, performing, composing, data collection, analysis challenges, and bachelor and master thesis projects that lead to academic publications.
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| 10. |
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