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

2008 ◽  
Author(s):  
Srikanth Vishnubhotla ◽  
Carol Y. Espy-Wilson
Keyword(s):  
Pitch Tracking

Max/MSP/Jitter for Music

2011 ◽  
Author(s):  
V. J Manzo
Keyword(s):  
Video Game ◽  
Music Technology ◽  
Camera Tracking ◽  
Instructional Tools ◽  
Music Therapists ◽  
Interactive Music ◽  
Pitch Tracking ◽  
Special Value ◽  
And Performance ◽  
Private Studio

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

Prosody of Ojibwe Discourse Markers

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.

Fast pitch tracking process for LTP‐based speech coders

1993 ◽  
Vol 94 (5) ◽  
pp. 3040-3040
Author(s):  
Claude Galand ◽  
Michele Rosso
Keyword(s):  
Pitch Tracking ◽  
Tracking Process

A pitch tracking corpus with evaluation on multipitch tracking scenario

2011 ◽  
Author(s):  
Gregor Pirker ◽  
Michael Wohlmayr ◽  
Stefan Petrik ◽  
Franz Pernkopf
Keyword(s):  
Pitch Tracking

Audio Playback and Pitch Tracking

2011 ◽  
Author(s):  
V. J Manzo
Keyword(s):  
Real Time ◽  
Sound File ◽  
Pitch Tracking ◽  
Design Concepts ◽  
Search Path ◽  
Recorded Sound ◽  
Control Interface ◽  
Computer Keyboard ◽  
Audio Files ◽  
Sound Files

In this chapter, we will look at some of the ways that you can play back and record sound files. As you know, Max lets you design the way you control the variables in your patch. We will apply these design concepts to the ways we control the playback of recorded sound. We will also look at some ways to track the pitch of analog audio and convert it into MIDI numbers. By the end of this chapter, you will have written a program that allows you to play back sound files using a computer keyboard as a control interface as well as a program that tracks the pitch you’re singing from a microphone and automatically harmonizes in real time. We will create a simple patch that plays back some prerecorded files I have prepared. Please locate the8 “.aif ” audio files located in the Chapter 13 Examples folder. 1. Copy these 8 audio files to a new folder somewhere on your computer 2. In Max, create a new patch 3. Click File>Save As and save the patch as playing_sounds.maxpat in the same folder where you put these 8 audio files. There should be 9 files total in the folder (8 audio and 1 Max patch) 4. Close the patch playing_sounds.maxpat 5. Re-open playing_sounds.maxpat (the audio files will now be in the search path of the Max patch) We can play back the prerecorded audio files we just copied using an object called sfplay~. The sfplay~ object takes an argument to specify how many channels of audio you would like the object to handle. For instance, if you are loading a stereo (two channel) file, you can specify the argument 2. Loading a sound file is easy: simply send the sfplay~ object the message open. Playing back the sound is just as easy: send it a 1 or a 0 from a toggle. Let’s build a patch that plays back these files.

Sign in / Sign up

Export Citation Format

Share Document