A multimodal framework for music inputs (poster session)

Haus, Goffredo; Pollastri, Emanuele

doi:10.1145/354384.354539

Cited by 15 publications

(10 citation statements)

References 8 publications

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“…The input can be either an audio file or a score fragment, played by the user on a keyboard, sung, or whistled into a microphone connected to the system [Haus and Pollastri 2000]. …”

Section: Overall System Architecturementioning

confidence: 99%

“…In other words, musical objects can be described as transformations of previously described musical objects. Those objects are usually the result of segmentation processes made by different musicologists, together with their own different musical points of view, or also by an automatic score segmenter like Scoresegmenter [Haus and Sametti 1991;Haus and Pollastri 2000].…”

Section: A Pinto and G Hausmentioning

confidence: 99%

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A novel XML music information retrieval method using graph invariants

Pinto

Haus

2007

ACM Trans. Inf. Syst.

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The increasing diffusion of XML languages for the encoding of domain-specific multimedia information raises the need for new information retrieval models that can fully exploit structural information. An XML language specifically designed for music like MX allows queries to be made directly on the thematic material. The main advantage of such a system is that it can handle symbolic, notational, and audio objects at the same time through a multilayered structure. On the model side, common music information retrieval methods do not take into account the inner structure of melodic themes and the metric relationships between notes.In this article we deal with two main topics: a novel architecture based on a new XML language for music and a new model of melodic themes based on graph theory. This model takes advantage of particular graph invariants that can be linked to melodic themes as metadata in order to characterize all their possible modifications through specific transformations and that can be exploited in filtering algorithms. We provide a similarity function and show through an evaluation stage how it improves existing methods, particularly in the case of samestructured themes. ACM Reference Format:Pinto, A. and Haus, G. 2007. A Novel XML music information retrieval method using graph invariants.

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“…The input can be either an audio file or a score fragment, played by the user on a keyboard, sung, or whistled into a microphone connected to the system [Haus and Pollastri 2000]. …”

Section: Overall System Architecturementioning

confidence: 99%

Section: A Pinto and G Hausmentioning

confidence: 99%

A novel XML music information retrieval method using graph invariants

Pinto

Haus

2007

ACM Trans. Inf. Syst.

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“…The matching between the input and the scores stored into DB is performed in several steps, graphically illustrated in Figure 5. The input can be either an audio file or a score fragment, played by the user on a keyboard or sung or whistled into a microphone connected to the computer [6].…”

Section: Audio Levelmentioning

confidence: 99%

“…That is to say musical objects can be described as transformations of previously described musical objects. Those objects are usually the results of segmentation processes made by different musicologists together with their own different musical points of view, or also by an automatic score segmenter like our Scoresegmenter [7] [6].…”

Section: Layersmentioning

confidence: 99%

Method and Environment for the Retrieval of Structural Music Information

Pinto

Haus

2006

2006 Second International Conference on Automated Production of Cross Media Content for Multi-Channel Distribution (AXMEDIS'06)

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Existing solutions for searching for appropriate music content rely on methods like string edit distances or functional approaches (as for the symbolic level) or features extraction methods (as for the audio level) that cannot provide structural similarity information. Our results in structural similarity measures for music information retrieval rely on graph theory and provide new tools for extract characterizing structural quantities from musical data (both symbolic and audio) to be implemented within an integrated query environment. The improvements regard the use of the graph model of musical data at different levels, the MX format for the representation of musical work and the new user interfaces for the navigation of musical source material.

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“…On the one hand, both could be recognised as shape functions reflected in every retrieval-based construction of musical fields, processes and objects, because both operate with given levels of abstraction and given degrees of input definition (Haus and Pollastri 2000). These systems are quite simple and well known in the case of literal texts, but are more complex in that of audio.…”

Section: Audio Browsingmentioning

confidence: 99%

Music negotiation: routes in user-based description of music

Tanzi

2001

Org. Sound

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This paper will deal with the changes that have come about in the description of musical knowledge and with the ensuing needs in this field in the era of decentralisation. Throughout almost all the twentieth century, musical practices continued to be expressed by a system of cultural mediations that proved to be a practical impediment to the emergence of non-conventional cultures. Electronic music in particular and its corrosive tendencies, though spread and supported by remarkable composers, has ended up being devoured by academic immune systems. Now that the diffusion of Net computing has induced people to intervene in musical material, a poetics based on interference is spreading. By gaining ground on grammatical and self-referenced poetics, this trend has gradually become a palpable fact and music perceives itself as both individual writing and a production of social meaning. At present, a globe-net-transfer of sound material passes through different contexts and spaces, and seems to be adapting itself to different social speeds. Through the Net we can, on the one hand, replace, manipulate and recontextualise musical parameters until a different significance emerges; at the same time, randomising and hybridising musical objects can partially change our perception of the same musical events. On the other hand, music online databases, audio browsers and musical queries may open the way to overthrowing, reorganising and personalising music description. This could occur at different levels and to different degrees of complexity, both as a social event and as an active, user-based combination of musical structures.

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A multimodal framework for music inputs (poster session)

Cited by 15 publications

References 8 publications

A novel XML music information retrieval method using graph invariants

A novel XML music information retrieval method using graph invariants

Method and Environment for the Retrieval of Structural Music Information

Music negotiation: routes in user-based description of music

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