Open questions on tonality perception and construction in non-Western vocal music » History » Version 4
Version 3 (Polina Proutskova, 2021-01-10 12:32 AM) → Version 4/5 (Polina Proutskova, 2021-01-19 06:52 PM)
h1. Open questions on tonality perception and construction in non-Western vocal music
h1. (OR what OR
h1. What makes singing so difficult for automatic analysis) analysis and artificial intelligence
h2. Polina Proutskova, Olga Velichkina
We provide a critical Our research is concerned with automatic detection and statistical evaluation of modes in Russian traditional polyphonic vocal music. Yet while applying existing computational approaches for automatic transcription and pitch class music analysis applied tools to our ethnomusicological corpus of ethnomusicological recordings of vocal music from Russia. It leads to questioning recordings, we encountered challenges that made us question basic assumptions about the perception of musical content in vocal music, on which these tools were built.
Through qualitative analysis of independent transcriptions of our ethnomusicological recordings built: where does a note start? how can we compiled a comprehensive classification of perceive two distinct pitches to represent the challenges and disagreements encountered by the transcribers. These challenges are not specific same mode degree? what do performers do to Russian tradition and agree with the experience from experiments in other cultures. Based on control these challenges we formulated open questions about the perception of pitch structure processes in vocal music, which address their underlying reasons. listeners? We will present hypotheses about possible reasons for the challenges current state of our research and list potential next steps. are looking forward to feedback and suggestions.
h1. (OR what OR
h1. What makes singing so difficult for automatic analysis) analysis and artificial intelligence
h2. Polina Proutskova, Olga Velichkina
We provide a critical Our research is concerned with automatic detection and statistical evaluation of modes in Russian traditional polyphonic vocal music. Yet while applying existing computational approaches for automatic transcription and pitch class music analysis applied tools to our ethnomusicological corpus of ethnomusicological recordings of vocal music from Russia. It leads to questioning recordings, we encountered challenges that made us question basic assumptions about the perception of musical content in vocal music, on which these tools were built.
Through qualitative analysis of independent transcriptions of our ethnomusicological recordings built: where does a note start? how can we compiled a comprehensive classification of perceive two distinct pitches to represent the challenges and disagreements encountered by the transcribers. These challenges are not specific same mode degree? what do performers do to Russian tradition and agree with the experience from experiments in other cultures. Based on control these challenges we formulated open questions about the perception of pitch structure processes in vocal music, which address their underlying reasons. listeners? We will present hypotheses about possible reasons for the challenges current state of our research and list potential next steps. are looking forward to feedback and suggestions.