A statistical pattern-recognition technique was applied to the classification of musical instrument tones within a taxonomic hierarchy. Perceptually salient acoustic features--- related to the physical properties of source excitation and resonance structure---were measured from the output of an auditory model (the log-lag correlogram) for 1023 isolated tones over the full pitch ranges of 15 orchestral instruments. The data set included examples from the string (bowed and plucked), woodwind (single, double, and air reed), and brass families. Using 70%/30% splits between training and test data, maximum a posteriori classifiers were constructed based on Gaussian models arrived at through Fisher multiplediscriminant analysis. The classifiers distinguished transient from continuant tones with approximately 99% correct performance. Instrument families were identified with approximately 90% performance, and individual instruments were identified with an overall success rate of appr...

The ability of a normal human listener to recognize objects in the environment from only the sounds they produce is extraordinarily robust with regard to characteristics of the acoustic environment and of other competing sound sources. In contrast, computer systems designed to recognize sound sources function precariously, breaking down whenever the target sound is degraded by reverberation, noise, or competing sounds. Robust listening requires extensive contextual knowledge, but the potential contribution of sound-source recognition to the process of auditory scene analysis has largely been neglected by researchers building computational models of the scene analysis process. This thesis proposes a theory of sound-source recognition, casting recognition as a process of gathering information to enable the listener to make inferences about

This paper presents ongoing work on gesture mapping strategies and applications to sound synthesis by signal models controlled via a standard MIDI wind controller. Our approach consists in considering different mapping strategies in order to achieve "fine" (therefore in the authors' opinion, potentially expressive) control of additive synthesis by coupling originally independent outputs from the wind controller. These control signals are applied to nine different clarinet data files, obtained from analysis of clarinet sounds, which are arranged in an expressive timbral subspace and interpolated in real-time, using FTS 1.4, IRCAM's digital signal processing environment. An analysis of the resulting interpolation is also provided and topics related to sound morphing techniques are discussed.

This chapter is concerned with the application of modern signal processing techniques to the restoration of degraded audio signals. Although attention is focussed on gramophone recordings, film sound tracks and tape recordings, many of the techniques discussed have applications in other areas where degraded audio signals occur, such as speech transmission, telephony and hearing aids. We aim to provide a wide coverage of existing methodology while giving insight into current areas of research and future trends. 1 Introduction The introduction of high quality digital audio media such as Compact Disk (CD) and Digital Audio Tape (DAT) has dramatically raised general awareness and expectations about sound quality in all types of recordings. This, combined with an upsurge in interest in historical and nostalgic material, has led to a growing requirement for restoration of degraded sources ranging from the earliest recordings made on wax cylinders in the nineteenth century, through disc reco...

this paper, many of the saxophone mouthpiece facing designs prevalent in the 1920's were such that the reed frequency could not be raised much above the playing frequency of notes in the top of the second register. The notes written at about D6 could be achieved as reed regimes, but it was not possible to play many notes in the third register of the instrument. It was also not possible to play the second register without opening the register hole, because the reed frequency was too low to add energy to the oscillation at a higher component. More recent mouthpiece facing designs have allowed the reed frequency to be raised to a range analogous to that of the clarinet so that the third register is possible and the second register can be played without the register hole (Thompson, 1979). Given the fact that Adolphe Sax demonstrated a three octave range on the saxophone in the 1840's (Rascher, 1970), the validity of this example is unlikely. Further, this author has performed on saxophone mouthpieces (and instruments) from the 1920's and has never had difficulty achieving a range of at least three and a half octaves. Performers of reed woodwinds are typically affected by instrument response problems when they CHAPTER 2. ACOUSTICAL ASPECTS OF WOODWIND DESIGN & PERFORMANCE 87 travel to locations of significant elevation difference from their normal place of practice. By considering the reed's role as a pressure-dependent air valve, it is reasonable to expect variations in reed response between different elevations. At high elevations, the ambient air pressure is lower. Thus, the pressure variations within the air column will oscillate about a lower ambient pressure value. Because the reed functions properly for a particular range of pressure differences across it and becaus...

This paper presents a digital waveguide woodwind instrument tonehole implementation which, in a single model, characterizes all states of the hole from open to closed. This efficient implementation produces results which agree well with previous acoustical analyses of the tonehole. A similar model is also presented for the register hole. A complete woodwind instrument model with many toneholes and register hole(s) is implemented in a cross-platform, C++ real-time computer programming environment. A new wind controller created to control the woodwind model is also briefly discussed. 1

In this article, we comment on various definitions of the term gesture in the general literature of humanhuman and human-computer interaction and in the musica domain. Different propositions of gesture classifications are then discussed and topics from other disciplines, that are important to the discussion on gesture and music, are presented. Concepts developed by the first author related to instrumental gestures, such as energy continuum, gestural channel, and instrumental gesture typology are reviewed in this context. The introduction of case studies on acoustic instruments helps in supporting the theory. Finally, the role of non-obvious (ancillary or accompanist) gestures is discussed with respect to clarinet playing.

Statistical modeling and analysis have been applied to different music related fields. One of them is sound synthesis and analysis. Sound can be represented as a real-valued function of time. This function can be sampled at a small enough rate so that the resulting discrete version is almost as good as the continuous one. This permits one to study musical sounds as a discrete time series, an entity for whichmany statistical techniques are available. Physical modeling suggests that manymusical instruments' sounds are characterized bya harmonic and an additive noise signal. The noise is not something to get rid of rather it's an important part of the signal. In this research the interest is in separating these two elements of the sound. To do so a local harmonic model that tracks ch...

In this work we focus on the problem of acoustic signals modeling and analysis, with particular interest in models that can capture the timbre of musical sounds. Traditional methods usually relate to several "dimensions" which represent the spectral properties of the signal and their change in time. Here we confine ourselves to the stationary portion of the sound signal, who's analysis is generalized by incorporating polyspectral techniques. We suggest that by means of looking at the higher order statistics of the signal we obtain additional information not present in the standard autocorellation or it's Fourier related power-spectra. It is shown that over the bispectral plane several acoustically meaningful measures could be devised, which are sensitive to properties such as harmonicity and phase coherence among the harmonics. Effects such as reverberation and chorusing are demonstrated to be clearly detected by the above measures. In the second part of the paper we perform an informa...

To study and to evaluate a multiple F0 estimation algorithm, a polyphonic database with verifiable ground truth is necessary. Real recordings with manual annotation as ground truth are often used for evaluation. However, ambiguities arise during manual annotation, which are often set up by subjective judgements. Therefore, in order to have access to verifiable ground truth, we propose a systematic method for creating a polyphonic music database. Multiple monophonic tracks are rendered from a given MIDI file, in which rendered samples are separated to prevent overlaps and to facilitate automatic annotation. F0s can then be reliably extracted as ground truth, which are stored using SDIF. 1