The automatic classification of audio signals into an hierarchy of musical genres is explored and three feature sets for representing timbral texture, rhythmic content and pitch content are proposed.
This paper describes MARSYAS, a framework for experimenting, evaluating and integrating techniques for audio content analysis in restricted domains and a new method for temporal segmentation based on audio texture that is combined with audio analysis techniques and used for hierarchical browsing, classification and annotation of audio files.
The purpose of this paper is to provide an overview of sonification research, including the current status of the field and a proposed research agenda. This paper was prepared by an interdisciplinary…
Observations on the design, artistic, and human factors of creating digital music controllers and a set of design principles will be supported from those examples.
A probabilistic model that learns to predict the probability that a word applies to a song from audio is presented, simple to implement, fast to train, predicts tags for new songs quickly, and achieves state-of-the-art performance on annotation and retrieval tasks.
ChucK is a new audio programming language for real-time synthesis, composition, and performance that natively supports concurrency, multiple, simultaneous, dynamic control rates, and the ability to add, remove, and modify code, on-the-fly, while the program is running, without stopping or restarting.
This work develops Gamma Process Nonnegative Matrix Factorization (GaP-NMF), a Bayesian nonparametric approach to decomposing spectrograms and derives a mean-field variational inference algorithm and evaluates GaP- NMF on both synthetic data and recorded music.
A general multi-feature audio texture segmentation methodology, feature extraction from mp3 compressed data, automatic beat detection and analysis based on the Discrete Wavelet Transform and musical genre classification combining timbral, rhythmic and harmonic features are described.
ChucK is argued for, a general-purpose programming language tailored for computer music that provides a syntax for representing information flow, a new time-based concurrent programming model that allows programmers to flexibly and precisely control the flow of time in code, and facilities to develop programs on-the-fly —as they run.
This book emphasizes physical modeling of sound and focuses on real-world interactive sound effects and is intended for game developers, graphics programmers, developers of virtual reality systems and training simulators, and others who want to learn about computational sound.