The New Grove Dictionary of Music and Musicians

Sommer, Susan T.; Morris, William; Thomson, Virgil; Thomas, Michael Tilson; Sadie, Stanley

doi:10.2307/940437

Cited by 15 publications

(20 citation statements)

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“…In vocal pedagogy, the first recorded mention of the chest and head voice was around the thirteenth century [53]. During the bel canto period, chest and head voices were redefined as the lowest and the highest of three vocal registers: the chest, passaggio, and head registers.…”

Section: Vocal Register and Vocal Resonancementioning

confidence: 99%

Paralinguistic singing attribute recognition using supervised machine learning for describing the classical tenor solo singing voice in vocal pedagogy

Wang

Cui³

et al. 2022

J AUDIO SPEECH MUSIC PROC.

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Humans can recognize someone’s identity through their voice and describe the timbral phenomena of voices. Likewise, the singing voice also has timbral phenomena. In vocal pedagogy, vocal teachers listen and then describe the timbral phenomena of their student’s singing voice. In this study, in order to enable machines to describe the singing voice from the vocal pedagogy point of view, we perform a task called paralinguistic singing attribute recognition. To achieve this goal, we first construct and publish an open source dataset named Singing Voice Quality and Technique Database (SVQTD) for supervised learning. All the audio clips in SVQTD are downloaded from YouTube and processed by music source separation and silence detection. For annotation, seven paralinguistic singing attributes commonly used in vocal pedagogy are adopted as the labels. Furthermore, to explore the different supervised machine learning algorithm for classifying each paralinguistic singing attribute, we adopt three main frameworks, namely openSMILE features with support vector machine (SF-SVM), end-to-end deep learning (E2EDL), and deep embedding with support vector machine (DE-SVM). Our methods are based on existing frameworks commonly employed in other paralinguistic speech attribute recognition tasks. In SF-SVM, we separately use the feature set of the INTERSPEECH 2009 Challenge and that of the INTERSPEECH 2016 Challenge as the SVM classifier’s input. In E2EDL, the end-to-end framework separately utilizes the ResNet and transformer encoder as feature extractors. In particular, to handle two-dimensional spectrogram input for a transformer, we adopt a sliced multi-head self-attention (SMSA) mechanism. In the DE-SVM, we use the representation extracted from the E2EDL model as the input of the SVM classifier. Experimental results on SVQTD show no absolute winner between E2EDL and the DE-SVM, which means that the back-end SVM classifier with the representation learned by E2E as input does not necessarily improve the performance. However, the DE-SVM that utilizes the ResNet as the feature extractor achieves the best average UAR, with an average 16% improvement over that of the SF-SVM with INTERSPEECH’s hand-crafted feature set.

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Section: Vocal Register and Vocal Resonancementioning

confidence: 99%

Paralinguistic singing attribute recognition using supervised machine learning for describing the classical tenor solo singing voice in vocal pedagogy

Wang

Cui³

et al. 2022

J AUDIO SPEECH MUSIC PROC.

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“…Literature review: Genre, identity, and technological mediation in popular music and music streaming Scholars in popular music studies have aimed to theorize, create systematic typologies, and study the social practices of genres (Samson 2001). They have proposed theoretical concepts that encompass musical, social, and economic dimensions of genre in popular music (Brackett 2016;Holt 2007;Fabbri 1982) and have drawn on genre theory beyond music to theorize questions of delineation (Frith 1996;Beer 2012;Rockwell 2012), temporality (Krogh 2018;Lena and Peterson 2008) and meaning (Brackett 2016;Fabbri 1982) as core concerns of genre formations in popular music.…”

Section: Introductionmentioning

confidence: 99%

“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming

Muchitsch

2023

IASPM Journal

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Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies.

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“…Aşağıdaki kataloglanmış eser listesi "The New Grove Dictionary of Music and Musicians"dan derlenmiştir. 14 Tablo 1. Dönem'e geçişte önemli bir rolü olduğu ve sonrasındaki bestecilerin piyano stillerini etkilediği için incelenip Türkçe kaynak oluşturulması önem arz etmektedir.…”

Section: Introductionunclassified

Carl Maria Von Weber’i̇n Pi̇yano Sonatlarinin Karşilaştirilmasi Ve OP.24 Pi̇yano Sonati’nin 1. Bölümünün İncelenmesi̇

KARACA

ARABOĞLU

2022

Balkan Müzik Ve Sanat Dergisi

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Bu çalışmanın amacı, Erken Romantik Dönem bestecilerinden Carl Maria von Weber’in piyano sonatlarının karşılaştırılması ve Op. 24 Piyano Sonatı’nın ilk bölümünün incelenmesidir. Nitel doküman analizi yönteminin kullanıldığı bu araştırmada ilk olarak literatür taraması yapılarak besteci ve eserler hakkında bilgiler edinilmiştir. Bu veriler ışığında eserlerin seçilen notaları üzerinde incelemeler yapılarak karşılaştırmalar yapılmış ve elde edilen veriler betimlenerek verilmiştir. Son olarak Op. 24 Piyano Sonatının birinci bölümü form özellikleri açısından incelenerek elde edilen veriler nota üzerinde örneklerle gösterilmiştir. Sonuç olarak; Weber’in bu piyano sonatlarının Klasik Dönem’den Romantik Dönem’e geçişte önemli bir rolü olduğu, kendinden sora gelen bestecilerin piyano stillerini etkilediği, Weber’in piyanistik eserlerinin en önemli özelliklerinden birisinin orkestra seslerini piyanoda betimlemesi olduğu görülmüş, Op. 24 Piyano Sonatı’nın ilk bölümünün her ne kadar Klasik Dönem özelliklerini yansıtsa da armonik ve form yapısı açısından Romantik Dönem bireyselciliğini yansıttığı görülmüştür.

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The New Grove Dictionary of Music and Musicians

Cited by 15 publications

References 0 publications

Paralinguistic singing attribute recognition using supervised machine learning for describing the classical tenor solo singing voice in vocal pedagogy

Paralinguistic singing attribute recognition using supervised machine learning for describing the classical tenor solo singing voice in vocal pedagogy

“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming

Carl Maria Von Weber’i̇n Pi̇yano Sonatlarinin Karşilaştirilmasi Ve OP.24 Pi̇yano Sonati’nin 1. Bölümünün İncelenmesi̇

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