Musical Sources Research Articles

On the History of P.Chevalier de Brissol’s Ballet “The Village Heroine” (1800)

The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.

Conditioned Source Separation for Musical Instrument Performances

In music source separation, the number of sources may vary for each piece and some of the sources may belong to the same family of instruments, thus sharing timbral characteristics and making the sources more correlated. This leads to additional challenges in the source separation problem. This paper proposes a source separation method for multiple musical instruments sounding simultaneously and explores how much additional information apart from the audio stream can lift the quality of source separation. We explore conditioning techniques at different levels of a primary source separation network and utilize two extra modalities of data, namely presence or absence of instruments in the mixture, and the corresponding video stream data.

The Relationship between Outcome Expectancy and Adolescents' Illegal Use of Music Sources: Double Mediating Effects of Reward Sensitivity and Social Dilution of Responsibility

The Relationship between Outcome Expectancy and Adolescents' Illegal Use of Music Sources: Double Mediating Effects of Reward Sensitivity and Social Dilution of Responsibility

Time-Domain Audio Source Separation With Neural Networks Based on Multiresolution Analysis

We propose a time-domain audio source separation method based on multiresolution analysis, which we call multiresolution deep layered analysis (MRDLA). The MRDLA model is based on one of the state-of-the-art time-domain deep neural networks (DNNs), Wave-U-Net, which successively down-samples features and up-samples them to have the original time resolution. From the signal processing viewpoint, we found that the down-sampling (DS) layers of Wave-U-Net cause aliasing and may discard information useful for source separation because they are implemented with decimation. These two problems are due to the decimation; thus, to achieve a more reliable source separation method, we should design DS layers capable of simultaneously overcoming these problems. With this motivation, focusing on the fact that the successive DS architecture of Wave-U-Net resembles that of multiresolution analysis, we develop DS layers based on discrete wavelet transforms (DWTs), which we call the DWT layers, because the DWTs have anti-aliasing filters and the perfect reconstruction property. We further extend the DWT layers such that their wavelet basis functions can be trained together with the other DNN components while maintaining the perfect reconstruction property. Since a straightforward trainable extension of the DWT layers does not guarantee the existence of anti-aliasing filters, we derive constraints for this guarantee in addition to the perfect reconstruction property. Through music source separation experiments including subjective evaluations, we show the efficacy of the proposed methods and the importance of simultaneously considering both the anti-aliasing filters and the perfect reconstruction property.

Recent Developments in the Japanese Branch of Répertoire International de Littérature Musicale (Rilm National Committee of Japan): Its Task and Future

At the twentieth Congress of the International Musicological Society (IMS), held in Tokyo March 2017, RILM Japan organised a session ‘Collaboration and Dialogue: RILM in Japan’, in which the invited speakers pointed out the current problems of RILM Japan: for example, the difficulties in the transliteration of Japanese documents and ensuing misinterpretation, and the still estranged position of popular music studies in traditional Japanese musicology. On the other hand, since its foundation in 1967, RILM Japan has undergone several changes in its office location, editorial principles, and publication methods, which are almost always a result of financial challenges. Despite its constant efforts, therefore, RILM Japan has been facing fundamental problems in its operations for a long time. In June 2018, IAML Japan and RILM Japan jointly hosted a conference ‘Music Information in Asia and Advancement of International Collaboration: Searching the Music Source and Connecting the Music Libraries’ at Rikkyo University, Tokyo. A formal declaration of the conference was unanimously approved as follows: ‘We the members of IAML and RILM Japan hereby state our intent to be in closer contact with others in Asia concerned with the care, collection, and dissemination of music materials to facilitate mutual understanding and collaboration.’ Finally, as a result of such endeav-ours, in April 2021, the Japanese Society of Popular Music has joined RILM Japan as a subsidising support group, and an online Web system, RILM Japan Online (only for domestic use at this point), has been placed in operation after a long debate over its implementation.

Osmanlı Arşivinde Müzik Tarihi Kaynakları

Although, Ottoman Archives consist of many important documents related to music, coming from different historical eras, very limited studies have been carried out on these documents. There are some reasons for this. First of all, the Ottoman archive has a very complicated catalogue system. Additionally, only limited documents are presented with the abstract and translation. Many documents are in closed and unabstracted cases. That’s why researchers have to know the catalogue system for finding true and reliable sources in the Ottoman archive. After a long research period for musical sources, I have learnt which catalogue titles consist of documents related to music. I will give information about different specific catalogue titles that consist documents related to music in this presentation. Additionally, I will mention important characteristics of the Catalogue system for music history researches. Keywords: Ottoman Music, Turkish Music History, Music Archives, Ottoman Music Foundations, Music in the Ottoman Court.

The genre-style and performance features of sketches for saxophone J.-M. Londaks

The purpose of the article is to determine the genre-style and performance features of the saxophone J.-M. Londaks and their importance in the educational process of young musicians. The methodology of the research is based on the use of methods: textual and source studies – when developing music sources on a selected topic; style and intonation analysis – to determine the genre-style and performance features of the analyzed sketches. The scientific novelty of the work is the updating of the notographic material, analyzed for the first time, and outlining the expediency of its use in the educational establishments of the art profile of Ukraine. Conclusions. Etudes for saxophone by J.-M. Londaks are aimed at mastering young musicians of all sorts of technical, articulatory techniques inherent in, in particular, violin music. The miniatures are diverse, featuring a rich dynamic palette, cover different registers of the saxophone, revealing its timbre potential, designed for students to master all the tonalities. The analyzed sketches enriched the instructive repertoire of saxophonists, started in my time by M. Mull, and used in the educational process of Ukrainian performers.

Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora

The aim of the paper is to analyse songs written by Władysław Szpilman during the socialist realism period in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948–56, regarded as mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of mass songs shows that they were regarded positively, often as heartening, described as enslaving in view of the context of the performance of selected songs.Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.

Beethoven made in Barcelona: una grabación pionera del Concierto para violín a cargo de Joan Manén

En 1916, el violinista catalán Joan Manén grabó en Barcelona el Concierto para violín en Re Mayor Op. 61 de Beethoven, una década antes de que otros grandes violinistas ofrecieran las versiones que, hasta la fecha, se habían considerado pioneras. La copia personal de Manén fue legada al Museu de la Música de Barcelona y hoy nos sirve para estudiar los principales rasgos estilísticos del violinista a través del cotejo de las fuentes musicales y del análisis de sus propias reflexiones sobre técnica e interpretación.

Adversarial Unsupervised Domain Adaptation for Harmonic-Percussive Source Separation

This letter addresses the problem of domain adaptation for the task of music source separation. Using datasets from two different domains, we compare the performance of a deep learning-based harmonic-percussive source separation model under different training scenarios, including supervised joint training using data from both domains and pre-training in one domain with fine-tuning in another. We propose an adversarial unsupervised domain adaptation approach suitable for the case where no labelled data (ground-truth source signals) from a target domain is available. By leveraging unlabelled data (only mixtures) from this domain, experiments show that our framework can improve separation performance on the new domain without losing any considerable performance on the original domain. The letter also introduces the Tap & Fiddle dataset, a dataset containing recordings of Scandinavian fiddle tunes along with isolated tracks for “foot-tapping” and “violin”.

Harmonic-Temporal Factor Decomposition for Unsupervised Monaural Separation of Harmonic Sounds

We address the problem of separating a monaural mixture of harmonic sounds into the audio signals of individual semitones in an unsupervised manner. Unsupervised monaural audio source separation has thus far been mainly addressed by two approaches: one rooted in computational auditory scene analysis (CASA) and the other based on non-negative matrix factorization (NMF). These approaches focus on different clues for making source separation possible. A CASA-based method called harmonic-temporal clustering (HTC) focuses on a local time-frequency structure of individual sources, whereas NMF focuses on a global time-frequency structure of music spectrograms. These clues do not conflict with each other and can be used to achieve a more reliable audio source separation algorithm. Hence, we propose a monaural audio source separation framework, harmonic-temporal factor decomposition (HTFD), by developing a spectrogram model that encompasses the features of the models used in the NMF and HTC approaches. We further incorporate a source-filter model to build an extension of HTFD, source-filter HTFD (SF-HTFD). We derive efficient parameter estimation algorithms of HTFD and SF-HTFD based on the auxiliary function principle. We show, through music source separation experiments, the efficacy of HTFD and SF-HTFD compared with conventional methods. Furthermore, we demonstrate the effectiveness of HTFD and SF-HTFD for automatic musical key transposition.

Pasticcio-Daten und Daten-Pasticcio – zur Edition kompilierter musikalischer Werke

Abstract This text, which was written by members of the project Pasticcio. Ways of arranging attractive operas, uses Gérard Genette’s term ‘paratext’ in a broader sense. Assuming that every text besides the edited work, which is part of the genesis of these oscillating works compiled of pre-existing musical material called pasticcios, can be understood as a paratext, it reveals the importance of printed librettos, related musical sources and philological contexts (like the often underestimated influence of the singers in the creation of a musical work) for their understanding and edition. Aiming at connecting a database with the online edition of four operatic works via XML, the project members present ideas and structures of the project’s data which can be described as a paratext as well.

BassNet: A Variational Gated Autoencoder for Conditional Generation of Bass Guitar Tracks with Learned Interactive Control

Deep learning has given AI-based methods for music creation a boost by over the past years. An important challenge in this field is to balance user control and autonomy in music generation systems. In this work, we present BassNet, a deep learning model for generating bass guitar tracks based on musical source material. An innovative aspect of our work is that the model is trained to learn a temporally stable two-dimensional latent space variable that offers interactive user control. We empirically show that the model can disentangle bass patterns that require sensitivity to harmony, instrument timbre, and rhythm. An ablation study reveals that this capability is because of the temporal stability constraint on latent space trajectories during training. We also demonstrate that models that are trained on pop/rock music learn a latent space that offers control over the diatonic characteristics of the output, among other things. Lastly, we present and discuss generated bass tracks for three different music fragments. The work that is presented here is a step toward the integration of AI-based technology in the workflow of musical content creators.

«Времена года» Антонио Вивальди в реинтерпретации британского композитора-минималиста Макса Рихтера

Starting from the second half of the 20th century the interest in Western European Baroque music on the part of composers and performers has acquired the character of a sign phenomenon. Besides reinterpreting masterpieces by “other composers,” contemporary composers have widely applied the method of reconstructing Baroque musical text models. Of special interest are the musical compositions based on generally familiar musical masterpieces. The article examines an original reinterpretation of Antonio Vivaldi’s instrumental cycle “The Seasons” composed by British composer Max Richter in 2012. The conception of the composition is built on the inspiration to adapt the musical masterpiece to new existent conditions, without resorting to apply the traditional genre of transcription. The phenomenon for reevaluation is presented by the model of the baroque instrumental concerto, which unifies in itself the principles of the concerto grosso with those of the solo instrumental concerto. Richter also achieves identification with the primary musical source by his reliance on contrapuntal regular laws, the preservation of the foundation of the instrumental ensemble, the instrumental cycle’s overall formal structure and the figurative qualities. The factors cementing together the reinterpreted version with the primary musical material are the textual structures of the tutti – solo and continuo – solo dialogues which have been established during the Baroque period. In the intertext of the reinterpreted cycle “The Seasons” models of the past epoch are unified with the characteristic principles of contemporary culture: open form, unpredictable dramaturgy, and electronic sounds. The lexical content of the invariant models are also subjugated by Richter to the logic of minimalism, proving the close proximity between the principles of intonational unfolding of Baroque and minimalist musical works. Keywords: Vivaldi’s “Seasons,” Max Richter, text models, baroque, minimalism, reinterpretation, instrumental concerto, concerto grosso.

유아 영어 뮤지컬 수업 모형과 지도방안 사례 연구

The purpose of this study is to help teachers by presenting detailed English musical models and lesson plans through a field-oriented case, thinking that the infant English musical class is for learning presentation or performance rather than a systematic musical class based on the English teaching method in kindergarten. To this end, the study carried out in this study was as follows. First, we will examine the teaching method of infant English musical and how to use infant English musical and present the model of infant English musical class by infant English teaching method. Second, select an English musical that matches the age and level of the learner. Third, based on the class model, a script was devised according to the developed guidance and could be used for actual classes by presenting the entire class plan for the infant English musical, the weekly class plan, and the daily class plan. Suggestions relating to the content of this study include: Because teaching guides are designed for six years of age, it is difficult to apply them to all ages, so study of teaching guides of different ages is required. Second, it is difficult to obtain materials and music sources for classes, kindergarten education institutions should also study and develop specific textbooks for English education.

A Comparison of Human against Machine-Classification of Spatial Audio Scenes in Binaural Recordings of Music

The purpose of this paper is to compare the performance of human listeners against the selected machine learning algorithms in the task of the classification of spatial audio scenes in binaural recordings of music under practical conditions. The three scenes were subject to classification: (1) music ensemble (a group of musical sources) located in the front, (2) music ensemble located at the back, and (3) music ensemble distributed around a listener. In the listening test, undertaken remotely over the Internet, human listeners reached the classification accuracy of 42.5%. For the listeners who passed the post-screening test, the accuracy was greater, approaching 60%. The above classification task was also undertaken automatically using four machine learning algorithms: convolutional neural network, support vector machines, extreme gradient boosting framework, and logistic regression. The machine learning algorithms substantially outperformed human listeners, with the classification accuracy reaching 84%, when tested under the binaural-room-impulse-response (BRIR) matched conditions. However, when the algorithms were tested under the BRIR mismatched scenario, the accuracy obtained by the algorithms was comparable to that exhibited by the listeners who passed the post-screening test, implying that the machine learning algorithms capability to perform in unknown electro-acoustic conditions needs to be further improved.

Reformulating the Binary Masking Approach of Adress as Soft Masking

Binary masking forms the basis for a number of source separation approaches that have been successfully applied to the problem of de-mixing music sources from a stereo recording. A well-known problem with binary masking is that, when music sources overlap in the time-frequency domain, only one of the overlapping sources can be assigned the energy in a particular time-frequency bin. To overcome this problem, we reformulate the classical pan-pot source separation problem for music sources as a non-negative quadratic program. This reformulation gives rise to an algorithm, called Redress, which extends the popular Adress algorithm. It works by defining an azimuth trajectory for each source based on its spatial position within the stereo field. Redress allows for the allocation of energy in one time-frequency bin to multiple sources. We present results that show that for music recordings Redress improves the SNR, SAR, and SDR in comparison to the Adress algorithm.

Tarihte Müzisyen Şahsiyetler: İbnü’t-Tahhân’ın Hâvi’l-Fünûn ve Selvetü’l-Mahzûn Adlı Eseri Üzerine Bir İnceleme

Musician Figures in History: A Study on Hawi al-Funun wa-Salwat al-Mahzun of Ibn al-Tahhan AbstractHawi al-Funun wa-Salwat al-Mahzun was written by Ibn al-Tahhan who was one of the palace musicians in Egypt (Fatimids period) between X-XI centuries. According to the available sources, it is the only known musical work that has survived since the Fatimids period. This work, written by a professional musician, consists of two main articles dealing with the scientific and practical aspects of the music art and has an encyclopedic feature with a hundred and two subject titles. One of the most important features that distinguishes Hawi al-Funun wa-Salwat al-Mahzun among early music sources is that the work sheds light on the music of the Fatimids period, as well as the seven hundred musicians who lived between the Jahiliyya period and the Fatimids period. This study, firstly, gives information about Ibn al-Tahhan and his famous study Hawi al-Funun wa-Salwat al-Mahzun, and secondly, as mentioned by Ibn al-Tahhan, gives information about the famous musicians who lived between the period of jahiliyyah and the Fatimids period. Tarihte Müzisyen Şahsiyetler: İbnü’t-Tahhân’ın Hâvi’l-Fünûn ve Selvetü’l-Mahzûn Adlı Eseri Üzerine Bir İncelemeÖzHâvi’l-Fünûn ve Selvetü’l-Mahzûn adlı eser, X-XI. asırlar arasında Mısır’da (Fâtımîler dönemi), saray müzisyenlerinden olan İbnü’t-Tahhân tarafından kaleme alınmış olup eldeki kaynaklara göre Fâtımîler döneminden günümüze ulaşabilmiş bilinen tek mûsikî eseridir. Profesyonel bir müzisyen tarafından kaleme alınan bu eser, mûsikî sanatının ilmi ve ameli yönlerinin ele alındığı iki bölümden oluşmakta ve içerisinde yer alan yüz iki konu başlığı ile ansiklopedik bir özellik taşımaktadır. Erken dönem mûsikî kaynakları arasında Hâvi’l-Fünûn ve Selvetü’l-Mahzûn’u farklı kılan en önemli özelliklerinden birisi, eserin Fâtımîler dönemi mûsikî kültürüne ışık tutmasının yanı sıra, eserde cahiliye dönemi ile müellifin yaşadığı Fâtımîler dönemi arasında yaşamış beş yüze yakın mûsikîşinasın isimlerinin tasnifli bir şekilde zikredilmesidir.Bu çalışmada öncelikle İbnü’t-Tahhân ve Hâvi’l-Fünûn ve Selvetü’l-Mahzûn adlı eseri tanıtılacaktır. Ardından da eserde adı geçen, cahiliye dönemi ile müellifin yaşadığı Fâtımîler dönemi arasında yaşamış müzisyenler hakkında bilgi verilecektir.

Spleeter: a fast and efficient music source separation tool with pre-trained models

Spleeter: a fast and efficient music source separation tool with pre-trained models

Ulas Samchuk’s “Living strings” in the Context of Bandura Art Source Studies (Dedicated to Ulas Samchuk’s 115th Anniversary)

The article analyzes the literary and documentary study of the famous Ukrainian diaspora writer Ulas Samchuk (1905–1987) “Living strings. Bandura and Bandurists” from the standpoint of musical source studies. The author of the article examines the structure and directions of thematic searches of U. Samchuk’s work, which were initiated by studying the phenomenon of the most famous Ukrainian diaspora collective – the Taras Shevchenko Ukrainian Bandurist Chorus. The article points out still applicable philosophical and aesthetic spheres of the book, due to understanding of kobza-bandura as a striking symbol of Ukrainian culture, and kobzar art – as its traditional phenomenon. The purpose of this research is to analyze the literary and scientific research of Ulas Samchuk “Living Strings” from the point of view of modern musical source studies. At the same time, the solution of the following tasks seems to be relevant: to determine the structure and directions of thematic searches and studies carried out by the writer in the work; to perform a chronological classification of the material; to outline the philosophical-aesthetic sphere of the book; to find out the significance of Ulas Samchuk’s work in comparison with other sources on research of bandura art of Ukraine and diaspora. The research methodology is determined by the use of historical, source, comparative, axiological and cultural approaches, as well as their corresponding methods. In particular, the historical-chronological method used to consider the sequence and stages of creating U. Samchuk’s study, axiological – to determine its artistic value, comparative – to float with other kobzar and bandura art studies, source and cultural approaches will contribute to the various aspects of bandura players art analysis in the global cultural space. The scientific novelty of the article is to determine the place and importance of U. Samchuk’s work in the context of scientific research source studies of bandura art in Ukraine and diaspora, as well as to characterize the writer's literary and journalistic style in his cultural work. Conclusions . In U. Samchuk's work, the bandura instrument is a national symbol that unites Ukrainians in its terrain and emigration parts through time and space, and kobzarism is a special stratum of the people, possessing the “power of revival” in all periods of history and on different continents. The main areas of the writer’s study should be considered: historical-chronic, philosophical-aesthetic, performing, repertoire. Informative saturation and chronological sequence of U. Samchuk's work can serve not only as a history of creation and activity of the Taras Shevchenko Ukrainian Bandurist Chorus but also as a kind of kobsarism encyclopedia of the past and present, Ukraine and the diaspora. It is noted that in comparison with other bandura art sources of studies, Ulas Samchuk’s work is marked by a synthesized approach to the coverage of kobzarism as an integral part of the Ukrainian nation’s culture and mentality, a powerful means of Ukrainians’ self-identification among the world. The author integrates epistemological, historical, folklore, literary-journalistic, musicological aspects in the analysis of bandura art during all stages of its functioning.