Pseudo stereo output synthesis of wind instruments based on computer multimedia technology

Abstract

The study of music data characterization and extraction techniques belongs to the category of music information retrieval. Music information retrieval is a hot research topic at home and abroad [1]. With the rapid development of the Internet and the maturity of digital audio technology, the creation, storage, and dissemination of digital music have become more and more convenient, and the number of digital music on the Internet has reached a considerable amount [2]. Along with the change in the way consumers access and listen to music and the advent of the big data era, the combination of traditional music information retrieval and today’s emerging technical methods has a broader application scene and possibilities [3]. According to the research, with the development of feature extraction and recognition of voice information becoming more and more mature, researchers nowadays start to turn to content-based music information retrieval research to investigate the use of different algorithm technologies to realize information extraction and recognition of music, such as feature extraction and recognition of songs of different music styles [4]. Audio transcoding detection is one of the important components of digital audio forensics. At present, most of the more popular audio on the market is compressed audio such as MP3, AAC audio, etc. This causes criminals to tamper with counterfeit audio, the first step is to decompress the compressed audio into non-compressed audio format, i.e. WAV audio, the second step is to tamper with the audio, delete, insert, splice audio on the WAV audio, etc. Finally, the tampered WAV audio will be compressed to become the desired audio. Since its inception, electronic music contains different genes from traditional music [5]. In a word, its genetic mutation includes the acculturalization of musical materials, the non-linearization of organizational structure, the randomization of ontological content, the flow of creative algorithms, the interaction of presentation forms, and so on. In the digital environment, the four traditional compositional components tend to think more comprehensively as a whole or using fuzzy concepts, rather than dealing with certain independent elements individually in the traditional logical, systematic, functional, and systemic manner [6]. However, looking back at the history of music in the twentieth century, anti-traditional and anti-stereotypical post-modernist ideology has emerged, and even in the field of traditional music [7], its development has clearly shown the characteristics of breaking free from the shackles of the major and minor tonal systems of classical music and liberating the mind to create many pioneering genres [8].