Musical Sources Research Articles

ОСОБЕННОСТИ КАМЕРНО-ВОКАЛЬНЫХ ЖАНРОВ В КИТАЙСКОЙ КУЛЬТУРЕ

Chamber vocal music belongs to the most multifaceted fields of musical art, involving not only the expressiveness and cantilena of the singing voice, but also the poetry of speech. This article is devoted to one of the most pressing issues considered in the study of chamber vocal music, directly or indirectly present in numerous studies, ranging from small essays to major scientific works created by prominent musicologists, including B. V. Asafiev, V. A. Vasina- Grossman, L. A. Mazel. This question concerns the interaction of words and music in chamber vocal works, the peculiarities and conditions of this interaction, the genre organization of textual and musical sources, and the singing of the word. Here the problems of the artistic content are considered mainly on the examples of Chinese songs dedicated to the images of nature and the state of the human mental world. They are given in Russian translations. The popular Soviet song from the World War II "Dorozhenka", which became popular in China in a revised form, is considered separately.

Music Source Separation With Generative Flow

Fully-supervised models for source separation are trained on parallel mixture-source data and are currently state-of-the-art. However, such parallel data is often difficult to obtain, and it is cumbersome to adapt trained models to mixtures with new sources. Source-only supervised models, in contrast, only require individual source data for training. In this paper, we first leverage flow-based generators to train individual music source priors and then use these models, along with likelihood-based objectives, to separate music mixtures. We show that in singing voice separation and music separation tasks, our proposed method is competitive with a fully-supervised approach. We also demonstrate that we can flexibly add new types of sources, whereas fully-supervised approaches would require retraining of the entire model.

Coverage of chang instruments in historical and musical sources

This article provides a scientific overview of the history of change instruments and their gradual development to the present day, the ancient data of our ancestors on the performance of the instrument, in particular, the reflections on rock paintings in our region. The development of sound in percussion instruments discovered after percussion instruments is because the air driven into a pipe of a certain thickness in a certain direction, while in later invented percussion instruments it formed due to the vibration of the net at a certain tension.

BASILIAN HISTORICAL AND MUSIC STUDIOS [Book review ]: Yury Yasinovskyi. Church singing of Galicia Austrian era in criticism, personalities and sheet music sources Warsaw: Vasiliada Publishing House, 2020. 404 p. (Series "Basilian historical studies; vol. V)

BASILIAN HISTORICAL AND MUSIC STUDIOS [Book review ]: Yury Yasinovskyi. Church singing of Galicia Austrian era in criticism, personalities and sheet music sources Warsaw: Vasiliada Publishing House, 2020. 404 p. (Series "Basilian historical studies; vol. V)

Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries

The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.

Hierarchic Temporal Convolutional Network With Cross-Domain Encoder for Music Source Separation

Recently, the time-domain-based methods (i.e., the method of modeling the raw waveform directly) for audio source separation have shown tremendous potential. In this paper, we propose a model which combines the complexed spectrogram domain feature and time-domain feature by a cross-domain encoder (CDE) and adopts the hierarchic temporal convolutional network (HTCN) for multiple music sources separation. The CDE is designed to enable the network to code the interactive information of the time-domain and complexed spectrogram domain features. HTCN enables it to learn the long-time series dependence effectively. We also designed a feature calibration unit (FCU) to be applied in the HTCN and adopted the multi-stage training strategy during the training stage. The ablation study demonstrates the effectiveness of each designed component in the model. We conducted the experiments on the MUSDB18 dataset. The experimental results indicate that our proposed CDE-HTCN model outperforms the top-of-the-line methods and, compared with the state-of-the-art method, DEMUCS, achieves the improvement of the average SDR score of 0.61 dB. Significantly, the improvement of the SDR score for the <inline-formula><tex-math notation="LaTeX">$\ bass$</tex-math></inline-formula> source has a sizable margin of 0.91 dB.

A First Inventory of Plainchant Books up to 1900 in Santiago, Chile

The exploration of musical sources in Chilean archives and libraries has recently increased. However, liturgical music, especially that preserved in plainchant books, has been barely catalogued. This article provides a first inventory of plainchant books up to 1900 in the three most important ecclesiastical institutions in Santiago de Chile: the Cathedral, the Major Pontifical Seminary, and the Recoleta Dominica convent church. The results not only offer a list of more than one hundred books—some of them unknown or unpublished—but also lead to a better understanding of several issues related to plainchant in Chile, such as the use of local plainchant in that country and the circulation of liturgical music books.

Multichannel Blind Music Source Separation Using Directivity-Aware MNMF With Harmonicity Constraints

In this paper we present a harmonic constrained Multichannel Non-Negative Matrix Factorization (MNMF) method for the task of blind music source separation. In this model, the mixing filter encodes the spatial information in terms of magnitude and phase differences between channels whereas the source variances are modelled using a harmonic constrained NMF structure. In this work, the spatial covariance matrix is obtained from the constant-Q transform to account for the frequency logarithmic scale inherent in music signals and reduce the dimensionality of the parameters. Moreover, to mitigate the strong sensitivity to parameter initialization, we propose to initialize the spatial weights with the output of the steered response power (SRP) with the phase transform (PHAT) algorithm. The proposed method has been evaluated for the task of music source separation using a multichannel classical chamber music dataset with several polyphony and reverberation setups. Furthermore, a comparison with other state-of-the-art signal decomposition methods has been accomplished showing reliable results in terms of BSS_EVAL metrics.

An Efficient Short-Time Discrete Cosine Transform and Attentive MultiResUNet Framework for Music Source Separation

The music source separation problem, where the task at hand is to estimate the audio components that are present in a mixture, has been at the centre of research activity for a long time. In more recent frameworks, the problem is tackled by creating deep learning models, which attempt to extract information from each component by using Short-Time Fourier Transform (STFT) spectrograms as input. Most approaches assume that one source is present at each time-frequency point, which allows to allocate this point from the mixture to the desired source. Since this assumption is very strong and is reported not to hold in practice, there is a problem that arises from the use of the magnitude of the STFT as input to these networks, which is the absence of the Fourier phase information during the separated source reconstruction. The recovery of the Fourier phase information is neither easily tractable, nor computationally efficient to estimate. In this paper, we propose a novel Attentive MultiResUNet architecture, that uses real-valued Short-Time Discrete Cosine Transform data as inputs. This step avoids the phase recovery problem, by estimating the appropriate values within the network itself, rather than employing complex estimation or post-processing algorithms. The proposed novel network features a U-Net type structure with residual skip connections and an attention mechanism that correlates the skip connection and the decoder output at the previous level. The proposed network is used for the first time in source separation and is more computationally efficient than state-of-the-art separation networks and features favourable performance compared to the state-of-the-art with a fraction of the computational cost.

基于深度学习的音乐源分离技术研究

基于深度学习的音乐源分离技术研究

Musical Information Visualization System

The visualisation systems are spread widely as personal computer’s software. The system, that are processing audio data are presented in this article. The system visualizes the ratio of spectrum amplitudes and has fixed frequency binding to colours. The technology of audio signals processing by the device and components of the device were considered. For the increasing information processing speed was used 32bit controller and graphic equalizer with seven passbands. Music visualization it is function, that are spread widely in mediaplayer’s software, on a different operation systems. This function shows animated images that are depends on music signal. Images are usually reproduced in the real time mode and synchronized with a played audio-track. Music and visualization are merges in the different kind of art: opera, ballett, music drama or movies. Dependencies of auditory and visual sensations are used for increasing the emotional perseption for ordinary listeners . In the systems, that are currently being actively promoted, are used several tools for personal computers, such as: After Effects – The Audio Spectrum Effect, VSDC Video Editor Free – Audio Spectrum Visualizer, Magic Music Visuals. The software, that are mentioned above, has a one disadvantage: the using of streaming video is not possible with the simultaneous receipt of audio and requires processing and rendering of the resulting video series. The purpose of the work is to determine the features of spectral analysis of music information and taking into account real-time data processing. Propose a variant of the music information visualization system, which displays the spectral composition of music and the amplitude of individual harmonics, and filling the LED-matrix with the appropriate color depending on the amplitude of the audio signal, with the possibility of wireless signal transmission from the music source to the visual effects device. The technology of frequency analysis of the spectrum with estimation of amplitude of spectrum’s components of the musical data, that is arriving on the device is chosen for this project. The method is based on the analysis of the spectrum in the selected frequency bands, which in turn simplifies the function of finding maxima at different frequencies. The proposed variant of the musical information visualization system provides display on the LED-matrix of colors that correspond to the frequencies spectrum’s components in the musical composition. Moreover, the number of involved LEDs is proportional to the ratio of the amplitudes of the signal’s frequency components. The desired result is achieved by using a Fast Fourier Transform and selecting Khan or Heming windows for providing a better analysis results of the signal spectrum. The amplitudes of the individual components of the spectrum are estimated additionally and each frequency band has its own color. The work of the system is to analyze the components of the spectrum and frequency of musical information. This information affects the display of colors on the LED matrix. The using of a 32-bit microcontroller provides sufficient speed of audio signal processing with minimal delays. For the increasing the accuracy and speed up the frequency analysis, the sound range is divided into seven bands. For this purpose was used seven-band graphic equalizer MSGEQ7. Music information is transmitted to the system via Bluetooth, which greatly simplifies the selection and connection of the music data source.

Between Opera and Oratorio. The Pasticcio Oratorios in Prague and Brno ca 1720–1760

Abstract The phenomenon of the pasticcio oratorio was quite widespread in the Czech Lands around the middle of the eighteenth century. The first evidence of this practice was a Latin oratorio based on opera arias by George Frideric Handel (Prague 1725). In Brno, the capital of Moravia, the performances of oratorios were supported by Bishop Wolfgang Hannibal Schrattenbach, who was also an important patron of Italian opera. Therefore, opera arias were frequently interpolated into the Italian oratorios produced in his palace every week during Lent. Some works from the 1730s were even created as pasticcios composed of contrafacted opera arias. The only surviving score, La vittima d’amore by Joseph Umstatt (Brno 1741) with music by Caldara, Hasse, Leo, Feo, Porta and Pescetti, shows the process of creating this type of oratorio in detail. The reprise of this work by the Crusaders in Prague on Good Friday 1744 and its favourable reception stimulated the considerable development of this practice in the mentioned church. Between 1749 and 1758, at least six pasticcio oratorios were performed here. The music was selected not only from the works of popular composers of the time (Hasse, Jomelli, Graun), but also from the compositions of the older generation (Fux, Lotti, Conti, Porpora). Based on an analysis of librettos and music sources, the paper shows some examples of this phenomenon, crossing the boundaries between the opera and the oratorio in both directions.

“I am no longer afraid”

“I am no longer afraid”

Monaural Musical Octave Sound Separation Using Relaxed Extended Common Amplitude Modulation

Monaural music sound separation isolates individual instrument sources from a mono-channel polyphonic mixture. The primary challenge is to separate the source partials overlapped in time-frequency regions, especially for the full overlapping cases that at least one source does not have any nonoverlapping partial. Due to the lack of effective methods to separate the sources with full overlapping partials, this paper put forward a relaxed extended common amplitude modulation (RECAM) approach to deal with the octave sound separation, one of the most difficult cases. Our strategy uses a multi-band co-processing way for each short-time partial wave segment. Extensive experiments are conducted on octave mixture samples drawn from the Iowa University Musical Instrument Database. Results confirm that our RECAM achieves the best separation performance. For nonvibrato and vibrato mixtures, the average improvement of RECAM in each measure exceeds 3dB and 2dB, respectively.

Zur Edition von Widmungen – einige musikwissenschaftliche Reflexionen

Abstract Musicology has increasingly recognised the relevance of dedications for texts and works. Nevertheless, there seems to be no practical consensus on how to edit the dedications of historical musical sources. Using the example of 19th-century music prints, this essay highlights the role of dedications for a musical work and points out nuances of the phenomenon that are of relevance for editorial decision-making. An overview of functions of dedications in 19th-century music is outlined. This is followed by a theoretically-guided discussion of more ambivalent case examples in which rivaling dedication variants to a single work must be considered from the editor’s perspective. While a complete guideline for the editing of dedications cannot be given in this study, the conclusions drawn may help to establish a common awareness and a best practice.

Peschin, Ochsenkun und die Instrumentalpraxis am Hof Ottheinrichs

The provenance and dating of the 'Klagenfurt' tablature A-Kla GV 4/3, the earliest organ source written in 'New German tablature', ranges in current literature from 'Carinthia c.1560' (Apel, Johnson, Novak 2017) to 'Augsburg or Munich c.1530' (Davies 2010). Based on striking parallels to Sebastian Ochsenkun's Lautenbuch of 1558, repertorial studies, and new documents, the author can demonstrate that the almost note by note intabulations of the 'classic' vocal repertory (6-, 5-, 4-voice motets by Josquin, Moliton, LaRue, Verdelot and Senfl plus other famous pieces like "Mille regretz") were made between 1539 and 1547 by Gregor Peschin who served as court organist to the music-loving Duke Ottheinrich of Palatinate-Neuburg. His more than 100 music sources, documented in an inventory of 1544, are almost entirely lost.

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints

Music Source Separation PyTorch Checkpoints