Polyphonic pitch tracking with deep layered learning

In Max/MSP/Jitter for Music, expert author and music technologist V. J. Manzo provides a user-friendly introduction to a powerful programming language that can be used to write custom software for musical interaction. Through clear, step-by-step instructions illustrated with numerous examples of working systems, the book equips you with everything you need to know in order to design and complete meaningful music projects. The book also discusses ways to interact with software beyond the mouse and keyboard through use of camera tracking, pitch tracking, video game controllers, sensors, mobile devices, and more. This book will be of special value for everyone who teaches music at any level, from classroom instructors to ensemble directors to private studio instructors. Whether you want to create simple exercises for beginning performers or more complex programs for aspiring composers, this book will show you how to write customized software that can complement and even inspire your instructional objectives. No specialist foreknowledge is required to use this book to enliven your experience with music technology. Even musicians with no prior programming skills can learn to supplement their lessons with interactive instructional tools, to develop adaptive instruments to aid in composition and performance activities, and to create measurement tools with which to conduct research. This book allows you to: -Learn how to design meaningful projects for composition, performance, music therapy, instruction, and research -Understand powerful software through this accessible introduction, written for beginners -Follow along through step-by-step tutorials -Grasp the principles by downloading the extensive software examples from the companion website This book is ideal for: -Music educators at all levels looking to integrate software in instruction -Musicians interested in how software can improve their practice and performance -Music composers with an interest in designing interactive music -Music therapists looking to tailor programs to the needs of specific groups or individuals And all who are interested in music technology. Visit the companion website at www.oup.com/us/maxmspjitter

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Monaural speech segregation based on pitch tracking and amplitude modulation

IEEE International Conference on Acoustics Speech and Signal Processing ◽

10.1109/icassp.2002.5743777 ◽

2002 ◽

Cited By ~ 16

Author(s):

Guoning Hu ◽

DeLiang Wang

Keyword(s):

Amplitude Modulation ◽

Pitch Tracking ◽

Speech Segregation

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An algorithm for multi-pitch tracking in co-channel speech

10.21437/interspeech.2008-33 ◽

2008 ◽

Cited By ~ 1

Author(s):

Srikanth Vishnubhotla ◽

Carol Y. Espy-Wilson

Keyword(s):

Pitch Tracking

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Prosody of Ojibwe Discourse Markers

Inquiry@Queen's Undergraduate Research Conference Proceedings ◽

10.24908/iqurcp.14025 ◽

2020 ◽

Author(s):

Sonja Frazier

Keyword(s):

Great Lakes ◽

Narrative Structure ◽

Discourse Markers ◽

Pitch Tracking ◽

Discourse Particles ◽

Global Coherence ◽

Complex Picture ◽

And Linguistics

Discourse markers (DMs) are optional, sequentially dependent sentence-initial items (Schiffrin, 1987) that are used to bracket units of talk (e.g. oh, well, because, y’know, now ). This research aims to better understand Ojibwe DMs which typically occur as the first or second element of a sentence (Fairbanks, 2016). The proposed analysis seeks to understand the prosody of Ojibwe DMs broadly and specifically their use in narrative structure. The data is drawn from Gakina Dibaajimowin Gwayakwaawan ( All Teachings are Correct ) by Nancy Jones, 2013. The analysis was done by using the programs Audacity and PRAAT to identify individual sentences and their pitch prominences. Through careful listening and pitch tracking, prosodic properties of DMs were found to indicate the following: DMs attract the most prominent pitch in the sentence. DMs are used by the speaker to attract the hearer’s attention; in this sense they are interactional (Franks-Job, 2006). DMs are used by the speaker to structure the narration; as such they interact with topic changes and emphasis (Lenk, 1998) This study creates a more complex picture of Ojibwe DMs and adds to our understanding of the language. References: Fairbanks, B. 2016. Ojibwe Discourse Markers. University of Nebraska Press. Franks-Job, B. 2006. A dynamic-interactional approach to discourse markers. In Approaches to discourse particles, K. Fischer (ed.) pp. 395–413. Amsterdam: Elsevier. Lenk, U. 1998. Discourse markers and global coherence in conversation. Journal of Pragmatics 30(2):246-257 Ogimaawigwaebiik [Nancy Jones] 2013. Gakina Dibaajimowin Gwayakwaawan. In Dibaajimowinaan; Anishinaabe Stories of Culture and respect ; Nigaanigiizhig [Jim Saint-Arnold] (ed.), Great Lakes Indian Fish & Wildlife Commission, 9-10. Raso, Tommaso. 1996. Prosodic constraints for discourse markers. Spoken Corpora and Linguistic Studies. In Spoken Corpora and Linguistics Studies , T. Raso & H. Mello (eds.) 411-467. Benjamins: Amsterdam. Schiffrin, D. 1987. Discourse Markers. doi: 10.1017/cbo9780511611841.

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