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An unsupervised method is proposed aiming at extracting rhythmic sources from commercial polyphonic music whose number of channels is limited to one. Commercial music signals are not usually provided with more than two channels while they often contain multiple instruments including singing voice. Therefore, instead of using conventional ways, such as modeling mixing environments or statistical characteristics,...
This paper proposes a method for separating the signals of individual musical instruments from monaural musical audio. The mixture signal is modeled as a sum of the spectra of individual musical sounds which are further represented as a product of excitations and filters. The excitations are restricted to harmonic spectra and their fundamental frequencies are estimated in advance using a multipitch...
In this paper, we propose a novel method of refining the time-domain synthesis of individual source estimates from a single channel mixture. Employing a closed-loop architecture, the algorithm refines the synthesis of each source by iteratively estimating the phase of the sources, given the estimates of the source magnitude spectra and a single channel time-domain mixture. The performance of the algorithm...
Precise automatic music transcription requires accurate modeling and identification of the spectral content of the audio signal. But music can not be reduced to a succession of notes, and an accurate transcriptor should be able to detect other performance characteristics, such as slow tempo variations or, depending on the instrument detecting some interpretation effects. In a pedagogic way a student...
As music has turned digital, much research has been shifted toward digital music processing. Singing voice separation is one of the active research areas since the singing voice itself contains abundant information within, including melody, singerpsilas characteristic, lyrics, language, emotion, etc. These wide variety of resources are quite useful for music information retrieval (MIR), singer identification,...
The book takes the reader on a touorf the various stages and issues involved: physical aspects of sound (chapter l), psychoacoustics (chapter 2), stereophonic sound (chapter 3), quadraphonic sound (chapter 4), microphones (chapter 5), monitor loudspeakers and the monitoring environment (chapter 6), audio control systems (chapter 7), magnetic recording (chapter 8), signal processing devices (chapter...
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