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- Ahlbäck, Sven, 1960-
(author)
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MSTRE-Net: Multistreaming Acoustic Modeling for Automatic Lyrics Transcription
- 2021
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Conference paper (peer-reviewed)abstract
- This paper makes several contributions to automatic lyrics transcription (ALT) research. Our main contribution is a novel variant of the Multistreaming Time-Delay Neural Network (MTDNN) architecture, called MSTRE-Net, which processes the temporal information using multiple streams in parallel with varying resolutions keeping the network more compact, and thus with a faster inference and an improved recognition rate than having identical TDNN streams. In addition, two novel preprocessing steps prior to training the acoustic model are proposed. First, we suggest using recordings from both monophonic and polyphonic domains during training the acoustic model. Second, we tag monophonic and polyphonic recordings with distinct labels for discriminating non-vocal silence and music instances during alignment. Moreover, we present a new test set with a considerably larger size and a higher musical variability compared to the existing datasets used in ALT literature, while maintaining the gender balance of the singers. Our best performing model sets the state-of-the-art in lyrics transcription by a large margin. For reproducibility, we publicly share the identifiers to retrieve the data used in this paper.
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- Ahlbäck, Sven, 1960-
(author)
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Pitch-Informed Instrument Assignment using a Deep Convolutional Network with Multiple Kernel Shapes
- 2021
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Conference paper (peer-reviewed)abstract
- This paper proposes a deep convolutional neural network for performing note-level instrument assignment. Given a polyphonic multi-instrumental music signal along with its ground truth or predicted notes, the objective is to assign an instrumental source for each note. This problem is addressed as a pitch-informed classification task where each note is analysed individually. We also propose to utilise several kernel shapes in the convolutional layers in order to facilitate learning of timbre-discriminative feature maps. Experiments on the MusicNet dataset using 7 instrument classes show that our approach is able to achieve an average F-score of 0.904 when the original multi-pitch annotations are used as the pitch information for the system, and that it also excels if the note information is provided using third-party multi-pitch estimation algorithms. We also include ablation studies investigating the effects of the use of multiple kernel shapes and comparing different input representations for the audio and the note-related information.
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- Atienza, Ricardo, et al.
(author)
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Playing the design : Creating soundscapes through playful interaction
- 2023
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In: SMC 2023 - Proceedings of the Sound and Music Computing Conference 2023. - : Sound and Music Computing Network. ; , s. 362-369
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Conference paper (peer-reviewed)abstract
- This study takes inspiration from provocative design methods to gain knowledge on sound preferences regarding future vehicles’ designed sounds. A particular population subset was a triggering component of this study: people with hearing impairments. To that aim, we have developed a public installation in which to test a hypothetical futuristic city square. It includes three electrical vehicles whose sound can be designed by the visitor. The interface allows the user to interact and play with a number of provided sonic textures within a real-time web application, thus “playing” the design. This opens a design space of three distinct sounds that are mixed into an overall soundscape presented in a multichannel immersive environment. The paper describes the design processes involved.
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- Falkenberg, Kjetil, Docent, 1972-, et al.
(author)
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Creating digital musical instruments with and for children: Including vocal sketching as a method for engaging in codesign
- 2020
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In: Human Technology. - : Centre of Sociological Research, NGO. - 1795-6889. ; 16:3, s. 348-371
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Journal article (peer-reviewed)abstract
- A class of master of science students and a group of preschool children codesigned new digital musical instruments based on workshop interviews involving vocal sketching, a method for imitating and portraying sounds. The aim of the study was to explore how the students and children would approach vocal sketching as one of several design methods. The children described musical instruments to the students using vocal sketching and other modalities (verbal, drawing, gestures). The resulting instruments built by the students were showcased at the Swedish Museum of Performing Arts in Stockholm. Although all the children tried vocal sketching during preparatory tasks, few employed the method during the workshop. However, the instruments seemed to meet the children’s expectations. Consequently, even though the vocal sketching method alone provided few design directives in the given context, we suggest that vocal sketching, under favorable circumstances, can be an engaging component that complements other modalities in codesign involving children.
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| 7. |
- Frid, Emma, 1988-, et al.
(author)
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Haptic Music : Exploring Whole-Body Vibrations and Tactile Sound for a Multisensory Music Installation
- 2020
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In: Proceedings of the Sound and Music Computing Conference (SMC) 2020. - Torino, Italy. ; , s. 68-75
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Conference paper (peer-reviewed)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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| 8. |
- Frid, Emma, 1988-, et al.
(author)
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Sound Forest - Evaluation of an Accessible Multisensory Music Installation
- 2019
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In: 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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Conference paper (peer-reviewed)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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| 9. |
- Gullö, Jan-Olof, 1961-
(author)
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Let´s Clear the Smoke: Fifty Years of Smoke on the Water in Music Education
- 2023
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In: MEIEA Summit Proceedings - 2023. - Nashville : Belmont University & MEIEA. ; , s. 23-26
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Conference paper (peer-reviewed)abstract
- In December 1971, the British rock band Deep Purple recorded Smoke on the Water, which became a global hit and significantly contributed to the band’s popularity. This study aims to investigate the reasons behind the song’s success, such as its inherent values, composition, lyrics, or music production design, as well as other potential explanations. We also study Smoke on the Water’s impact on music education. We interviewed music teachers, producers, students, and musicians from different countries to accomplish this. The study also relies on insights from interviews with Deep Purple members, observations made during concerts and study visits, and external sources. The study finds its theoretical basis in cultural psychology, education, economics, sociology, and musicology theories. The findings highlight the significance of understanding the fundamental elements of a song, which aspiring artists, musicians, and music producers should consider if they want to reach a broader audience.
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| 10. |
- Gullö, Jan-Olof, 1961-
(author)
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Searching for Sophia with Microphones
- 2023
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In: Tonmeistertagung 2023. - Köln.
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Conference paper (peer-reviewed)abstract
- Recording music and sounds heavily rely on microphones, each with its unique function. Despite the continuous advancements in microphone technology, some models from the mid-20th century remain relevant and are still in use today. Microphones are, therefore, often valued very differently than other musical recording equipment. Over the years, music recording has gone from an exclusive activity to something ordinary people can do. In the past, advanced equipment was required, and it was often costly to make recordings. Today, virtually anyone with a computer or mobile phone can make a decent sound-quality recording. In addition, the software available for music recording means that older, previously expensive equipment is available in digital formats, and such plug-ins have become very widespread. In higher education, many students study music recording, including music production. However, it can be difficult for students to distinguish between different technical equipment, especially microphones. Our research project aims to clarify the differences and similarities among various microphone types, which will help students in higher music education, or anyone seeking guidance, to select the appropriate microphone for their needs. Music recording and production is a popular study area for many higher-education students. However, it can be challenging for students to differentiate between various technical equipment, particularly microphones. Therefore, it is essential to have precise information in this domain. Our research project focuses on elucidating the distinctions and similarities among different types of microphones. This knowledge will benefit students pursuing higher education in music or anyone seeking guidance on selecting the most suitable microphone for their requirements. In a previous study, a group of students evaluated dynamic microphones, considering cost and suitability. To eliminate any potential bias, all microphones were covered with black PVC electrical insulation tape and had coloured acoustic-foam microphone windscreens. The survey included five handheld microphones ranging from €25 to €400 in price. During testing, students were given a portable SQN mixer and a pair of Sony headphones to test the microphones. Surprisingly, the results showed that the students could not distinguish between low-budget and expensive microphones. Although some students could describe differences between the microphones, they could not differentiate between them since all the microphones were deemed suitable for most purposes. In another previous study, the quality of vocal recordings was tested using different microphones, including Neumann and AKG microphones, as well as an Apple computer's built-in microphone. Participants in the study included students, teachers, and audio engineers who listened to the recordings with and without background music in a mix and with software processing. The findings were enlightening, indicating that most participants had difficulty distinguishing between microphones when the recordings were processed with software and mixed with background music. Although a handful of listeners could correctly identify the microphones in unprocessed recordings, many participants made mistakes during the test. They were surprised by the actual microphone used for each recording. The study also found no notable difference in results between male and female voices. We are currently conducting a study measuring various types of microphones in a studio. We are playing music through speakers with microphones in different positions in front of the speakers. We are comparing the differences and similarities in the recorded sound when different microphones are used. The study includes analysing the dynamic, frequency, and directional responses. We have only tested microphones from the Shure manufacturer so far. In the coming months, we will test microphones from most other available manufacturers on the market under similar conditions, and also test some historically interesting microphones. This project is a part of the research project Searching for Sophia in Music Production and Music Production Education. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarise the theoretical framework of the project.
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