Development of improved automatic music transcription system for the arabian flute (NAY)

Al-Ghawanmeh, Fadi M.; Jafar, Iyad F.; Al-Taee, Majid A.; Al-Ghawanmeh, Mohammad T.; Muhsin, Zahra J.

doi:10.1109/ssd.2011.5993561

Cited by 6 publications

(7 citation statements)

References 4 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The analysis also tackled the number of segments in the instrument, and then the 9-segment choice of the Arab Nāy was spectrally justified. In [1] [7]- [9], time domain and spectral analysis were used to find and improve pitch detection and automatic music transcription of Nāy recordings. Such improvements were necessary to increase the efficiency of several educational and artistic applications such as melody analysis, automatic instrumental and vocal accompaniment and query-by-playing [10].…”

Section: Literature Reviewmentioning

confidence: 99%

See 1 more Smart Citation

Real-Time Maqam Estimation Model in Max/MSP Configured for the Nāy

Al-Ghawanmeh¹,

Al-Ghawanmeh²,

Abed³

2016

IJCNS

View full text Add to dashboard Cite

Automatic maqam estimation is considered significant toward improving multimedia live music performances and automatic accompaniment. This contribution proposed a real-time maqam estimation model developed in the visual programming language MAX/MSP and configured for the nāydukah. The model's design stood on basic formulas of Arab music maqamat as explained in theory and applied in practice. The model consisted of different layers of competition; the first was for the identification of the instant tonic of the melodic figure, and the second was for the recognition of its identifying E (E, E half-flat and E flat). Those two competitions were used to estimate the maqam in real-time. Then, accumulated estimation results were used to estimate the maqam in longer durations; five-second and full duration. The model was evaluated using professionally performed nāy improvisations. Results reflected a success in estimating all the studied maqamat when the full improvisation was considered. In addition, results were very good for realtime and five-second estimation where average estimation confidence was 75.98% and 80.04%, respectively.

show abstract

Section: Literature Reviewmentioning

confidence: 99%

“…This number, 300, was found experimentally while taking into consideration that the period separating two similar successive legato tones may reach the duration of 100 milliseconds. And, definitely, this period is not considered a silent note [9].…”

Section: Model Implementationmentioning

confidence: 99%

Real-Time Maqam Estimation Model in Max/MSP Configured for the Nāy

Al-Ghawanmeh¹,

Al-Ghawanmeh²,

Abed³

2016

IJCNS

View full text Add to dashboard Cite

show abstract

“…The toolbox benefited of a melodic music information retrieval model discussed in [15] [16]. In those contributions, as well as in [17], the particularity of Arab music was considered when proposing tools and models for woodwinds. Such customized research can function as basic building blocks for commercial software serving both the educational and the entertainment industries in the Arab world.…”

Section: Literature Reviewmentioning

confidence: 99%

Automatic Accompaniment to Arab Vocal Improvisation: From Technical to Commercial Perspectives

Al-Ghawanmeh¹,

Shannak²

2015

JSEA

View full text Add to dashboard Cite

In this multidisciplinary study, the main research question was how to improve the value of entrepreneurial initiatives that provide the web service of automatic accompaniment to Arab singing. As an example and case study, we considered the Mawaweel website that offered an automatic accompaniment to Arab vocal improvisation as a main service. After overviewing the website, we conducted a survey examining the satisfaction of its visitors in regard to presentation and quality of service. It was found that the Mawaweel website had potential to achieve success as the majority of the 22 respondents expressed general satisfaction after their first visit to the website, with an average rate of 75%. However, respondents' ratings were strict when discussing specific aspects about the website presentation and service quality, and the means of average rates were 68.32% and 50.23% respectively. The standard deviations of average rates were 15.70% and 19.13%, respectively. This revealed a sense of inhomogeneity in the values of the different aspects of the website presentation, and an expanded sense of inhomogeneity in the quality of the different services delivered by the website. We then compared the Mawaweel website to other websites and proposed specific improvements to the aspects with average rate below 50%.

show abstract

“…Some examples are: "Makam is a process of occurrence. It is a specific form of a musical scale that characterizes itself by an organization of intervals and various constitutive relations" (Yekta, 1924 3 ), "the feature that is created by the relation of pitches of a scale or melody and the tonic and/or dominant" (Arel, 1968), "the çeşni (flavor/taste) 4 that is created by melodic phrases that are seyir (melodic progression) rules within a scale." (Karadeniz, 1980), "Makam, before everything else, is based on a scale.…”

Section: Makam Music Theory Practice and Their Relation 21 The Makamentioning

confidence: 99%

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

Bozkurt

Ayangil

Holzapfel

2014

Journal of New Music Research

View full text Add to dashboard Cite

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.

show abstract

Development of improved automatic music transcription system for the arabian flute (NAY)

Cited by 6 publications

References 4 publications

Real-Time Maqam Estimation Model in Max/MSP Configured for the Nāy

Real-Time Maqam Estimation Model in Max/MSP Configured for the Nāy

Automatic Accompaniment to Arab Vocal Improvisation: From Technical to Commercial Perspectives

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

Contact Info

Product

Resources

About