Lyric Recognition and Christian Music

2011 ◽  
pp. 198-226 ◽  
Author(s):  
Susan E. George
Keyword(s):  
Word Recognition ◽  
Page Segmentation ◽  
High Quality ◽  
Christian Music ◽  
Optical Music Recognition ◽  
Music Recognition ◽  
Representation Language ◽  
High Level ◽  
Made In

The chapter is about lyric recognition in Optical Music Recognition (OMR). Discussion is made in the context of Christian music where the lyric is definitive of the genre. Lyrics are obviously found in other music contexts, but they are of primary importance in Christian music — where the words are as integral as the notation. This chapter (i) identifies the inseparability of notation and word in Christian music, (ii) isolates the challenges of lyric recognition in OMR providing some examples of lyric recognition achieved by current scanning software and (iii) considers some solutions outlining page segmentation and character/word recognition approaches, particularly focusing upon the target of recognition, as a high level representation language, that integrates the music with lyrics. The motivation for this chapter includes the observation that high quality lyric recognition is largely omitted by OMR research, but in the context of a music genre inseparable from the word, it is vital. Theoretical, practical (typesetting arrangements/singing synthesis) and philosophical reasons motivate a better examination of lyric recognition.

Optical Music Recognition with Wavelets

2005 ◽  
pp. 2225-2229
Author(s):  
Susan E. George
Keyword(s):  
Wavelet Transform ◽  
General Purpose ◽  
Music Notation ◽  
Optical Music Recognition ◽  
Music Recognition ◽  
Logical Representation ◽  
High Level

The aim of optical music recognition (OMR) is to “recognise” images of music notation and capture the “meaning” of the music. When OMR is successful it will be able to automatically extract a logical representation of printed or handwritten music captured in an image. There are a variety of reasons why OMR is required. Chiefly, it is convenient for swift input of music notation and might be subsequently edited, performed, used as a search or other. There are many stages before that final high-level interpretation can be made and recognition of the primitive symbols contained in the notation is primary. One of the biggest challenges in OMR is the super-imposition of music notation symbols – notes and other – upon stave lines in the music image. This article examines a general-purpose knowledge-free method in the wavelet transform, to deal with super-imposition in images of typeset music.

Evaluation in the Visual Perception of Music

2011 ◽  
pp. 304-349
Author(s):  
Susan E. George
Keyword(s):  
Visual Perception ◽  
Test Data ◽  
Recognition Performance ◽  
Optical Music Recognition ◽  
Music Recognition ◽  
Need To Evaluate ◽  
On Line ◽  
Recognition Systems ◽  
Representation Language

This chapter is about the need to evaluate the recognition performed by (i) Optical Music Recognition (OMR) systems, and also by (ii) counterpart on-line systems that directly recognize handwritten music input through a pen-based interface. It presents a summary of reviews that have been performed for commercial OMR systems and addresses some of the issues in evaluation that must be taken into account to enable adequate comparison of recognition performance. A representation language [HEART (HiErARchical Text-Based Representation)] is suggested, such that the semantics of music is captured (including the dynamics of handwritten music) and, hence, a target representation provided for recognition processes. Initial consideration of the range of test data that is needed (MusicBase I and II) is also made. The chapter is motivated by the outstanding need for (i) a greater understanding of how to evaluate the accuracy of music recognition systems, (ii) a widely available database of music test data (potentially automatically generated), (iii) an expression of this test data in a format that permits evaluation (for OMR and on-line systems) and (iv) the proliferation of representation languages — none of which captures the dynamics of handwritten music.

BAPA+40: South African and African Lessons

2020 ◽  
Vol 35 ◽  
Author(s):  
Arina Alexandra Muresan
Keyword(s):  
South African ◽  
Buenos Aires ◽  
Monitoring And Evaluation ◽  
Global South ◽  
Communications Systems ◽  
Transfer Of Technology ◽  
Peace And Security ◽  
Multi Stakeholder ◽  
High Level ◽  
Made In

The Second High-Level United Nations (UN) Conference on South-South Cooperation (also known as BAPA+40), held in Buenos Aires, Argentina, from 20 to 22 March 2019, promised to reinvigorate efforts to further achieve and implement South-South cooperation (SSC). Forty years on, the Global South is shaping its image as a solutions provider. Immense strides have been made in improving access to allow a multitude of state and non-state actors to cooperate, while broadening and deepening modes of cooperation and facilitating the exchange of knowledge and transfer of technology, thus moving beyond the simplistic view that developing countries require aid to function and move forward. However, noting these symbolic strides, the Global South should move forward by building understanding of monitoring and evaluation (M&E) frameworks; integrating multi-stakeholder models; improving the visibility of peace and security in South-South programming; and building effective communications systems.

Pengantar dan Survey Tentang Optical Music Recognition

2014 ◽  
Vol 6 (1) ◽  
pp. 36-39
Author(s):  
Kevin Purwito
Keyword(s):  
Character Recognition ◽  
Optical Character Recognition ◽  
Optical Music Recognition ◽  
Optical Character ◽  
Digital Format ◽  
Music Recognition ◽  
Index Terms ◽  
The Many ◽  
Further Development ◽  
Music Symbol

This paper describes about one of the many extension of Optical Character Recognition (OCR), that is Optical Music Recognition (OMR). OMR is used to recognize musical sheets into digital format, such as MIDI or MusicXML. There are many musical symbols that usually used in musical sheets and therefore needs to be recognized by OMR, such as staff; treble, bass, alto and tenor clef; sharp, flat and natural; beams, staccato, staccatissimo, dynamic, tenuto, marcato, stopped note, harmonic and fermata; notes; rests; ties and slurs; and also mordent and turn. OMR usually has four main processes, namely Preprocessing, Music Symbol Recognition, Musical Notation Reconstruction and Final Representation Construction. Each of those four main processes uses different methods and algorithms and each of those processes still needs further development and research. There are already many application that uses OMR to date, but none gives the perfect result. Therefore, besides the development and research for each OMR process, there is also a need to a development and research for combined recognizer, that combines the results from different OMR application to increase the final result’s accuracy. Index Terms—Music, optical character recognition, optical music recognition, musical symbol, image processing, combined recognizer  

Multidimensional analysis of the state of Russian studies on the education issues over 1993–2016

2018 ◽  
pp. 50-62
Author(s):  
Дмитрий Рубвальтер ◽  
Dmitry Rubvalter ◽  
Александр Либкинд ◽  
Alexander Libkind ◽  
Валентина Маркусова ◽  
...  
Keyword(s):  
Web Of Science ◽  
The State ◽  
Multidimensional Analysis ◽  
Russian Regions ◽  
Global Flow ◽  
Educational Issues ◽  
Foreign Countries ◽  
High Level ◽  
The Web ◽  
Made In

A multidimensional analysis of the state of Russian studies on the education issues over 1993–2016 was carried out based on the materials of the data contained in the Web of Science (SSCI, A & HCI and SCI-E databases). There were determined the dynamics and trends of a number of relevant indicators, such as the number of Russian publications by year, the share of these publications in the global flow of publications on education issues, the dynamics of the share of publications made in co-authorship with foreign colleagues, etc. A number of distributions of Russian publications on educational issues was compiled and analyzed: by journals, by Russian regions and cities, by organizations and authors of the publications. It was found that most of these distributions were characterized by a high level of non-uniformity. A list of journals (125 titles) in which Russian works on education issues had been published was compiled. Russian organizations (308) and domestic researchers (about two thousand) engaged in studying the issues of education were identified. It was discovered that more than 200 organizations and about 400 academicians from 60 foreign countries had participated in Russian studies on the education issues.

The Hydraulic Operation of Lathes for the Production of Shells

1944 ◽  
Vol 151 (1) ◽  
pp. 70-86
Author(s):  
W. Littlejohn Philip
Keyword(s):  
Machine Tools ◽  
Hydraulic Power ◽  
The Third ◽  
Hydraulic Machine ◽  
Hydraulic Machinery ◽  
Simple Machines ◽  
High Level ◽  
Shell Production ◽  
Hydraulic Operation ◽  
Made In

The paper is limited to the application of hydraulic power to lathes designed for shell making although, in the author's opinion, there is an immense field for the application of the same principles in other directions. Self-contained hydraulic machine tools have been dealt with by Mr. H. C. Town,† but in the system to be described all the machines are operated from a central hydraulic plant. Three complete installations on this principle have been established by the author, and the present paper contains an account of this work from the first experiments in 1915 until about four years ago. The first plant was constructed in 1915 for the production of 3·29-inch shells, known as “18-pounders”, from the solid bar. The output was 2,000 shells per week of 135 hours, with girl operators working on three shifts. The second plant was put down in 1916–17 for an output of 500 9·2-inch howitzer shells per week of 135 hours, also with girls working on three shifts. The third plant is of recent design. It was started in 1938 for the production of 3·45-inch shells, known as “25-pounders”; and was laid out for an output of 1,000 shells per week of 47 hours. This plant included four types of hydraulic lathes which the author was engaged to design for the War Office. Soon after the commencement of the last war in 1914 it became evident that shell production would have to be greatly increased, and engineering firms were pressed to take up shell manufacture. The author, on behalf of his firm, undertook to help in the movement, and he at once set about the construction of some simple machines for the job. These conformed on general lines to the practice of the period as regards design and operation. He soon realized, however, that drastic changes would have to be made if production was to reach the high level that circumstances demanded. Although quite familiar with hydraulic machinery of various types and of many applications in presses and certain types of heavy tools, he was not aware of any instance in which hydraulic power had been applied to the movements of a lathe. It appeared to him, nevertheless, that it would be possible to construct a very useful machine on these lines, and he accordingly started immediately to carry out experiments and to prepare designs. It was considered essential that machines for the duty which the author had in mind should be much heavier and more rigid than the ordinary machines of the time, so that they should be free from vibration and “chatter” or spring with the heaviest possible cutting. The standard of rigidity aimed at was that which would permit a half-crown coin to remain balanced on edge on the moving saddle or turret while the tools were making the heaviest cuts. This object was achieved, and the demonstration was frequently made in the presence of those who came to see the lathes at work.

scholarly journals Associations Between Music Training and the Dynamics of Writing Music by Hand

2020 ◽  
pp. 102986492097214
Author(s):  
Aurélien Bertiaux ◽  
François Gabrielli ◽  
Mathieu Giraud ◽  
Florence Levé
Keyword(s):  
Classical Music ◽  
Music Notation ◽  
Musical Score ◽  
Music Training ◽  
Video Recordings ◽  
Musical Structures ◽  
Music Recognition ◽  
High Level ◽  
Bottom To Top ◽  
Western Classical Music

Learning to write music in the staff notation used in Western classical music is part of a musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition and music notation and composition interfaces. We investigated associations between music training and experience, and the way people write music by hand. We made video recordings of participants’ hands while they were copying or freely writing music, and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed experienced musicians wrote faster than beginners, were more likely to write chords from bottom to top, and they tended to write the note heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.

scholarly journals An Experimental Study on the Sources of Strontium in Mineral Water and General Rules of Its Dissolution—A Case Study of Chengde, Hebei

Water ◽  
2021 ◽  
Vol 13 (5) ◽  
pp. 699
Author(s):  
Ruifeng Wang ◽  
Xiong Wu ◽  
Yanliang Zhai ◽  
Yuxuan Su ◽  
Chenhui Liu
Keyword(s):  
Experimental Study ◽  
Mineral Water ◽  
Surrounding Rock ◽  
Mechanism Of Formation ◽  
High Quality ◽  
General Rules ◽  
Leaching Experiment ◽  
High Level ◽  
Impact Experiments

Chengde City boasts a wealth of high-quality mineral water resources characterized by a high level of strontium (Sr), a low level of sodium, and low alkalinity. In order to study the mechanism of formation of Sr-bearing mineral water in Chengde and to scientifically guide future mineral water exploration, taking three typical mineral water exploration areas in Chengde as examples, this paper studies the sources of Sr in mineral water and the general rules of its dissolution via a laboratory static leaching experiment and impact experiments, and it provides an analysis of the characteristics of typical rock samples. The research results indicate that the content of Sr in surrounding rock and the characteristics of minerals existing in surrounding rock jointly control the dissolution of Sr in water; that CO2 can promote the formation of mineral water containing Sr; and that temperature increases may boost the dissolution of Sr from carbonate minerals but also inhibit the dissolution of Sr from silicate minerals.

scholarly journals Understanding Optical Music Recognition

2020 ◽  
Vol 53 (4) ◽  
pp. 1-35 ◽  
Author(s):  
Jorge Calvo-Zaragoza ◽  
Jan Hajič Jr. ◽  
Alexander Pacha
Keyword(s):  
Optical Music Recognition ◽  
Music Recognition

scholarly journals Non-destructive handheld XRF study of archaeological composite silver objects—the case study of the late Roman Seuso Treasure

2021 ◽  
Vol 13 (5) ◽  
Author(s):  
Viktória Mozgai ◽  
Bernadett Bajnóczi ◽  
Zoltán May ◽  
Zsolt Mráv
Keyword(s):  
Fluorescence Analysis ◽  
The Body ◽  
High Quality ◽  
X Ray ◽  
Composite Objects ◽  
Mechanical Attachment ◽  
Non Destructive ◽  
Made In ◽  
Late Roman

AbstractThis study details the non-destructive chemical analysis of composite silver objects (ewers, situlas, amphora and casket) from one of the most significant late Roman finds, the Seuso Treasure. The Seuso Treasure consists of fourteen large silver vessels that were made in the fourth–early fifth centuries AD and used for dining during festive banquets and for washing and beautification. The measurements were systematically performed along a pre-designed grid at several points using handheld X-ray fluorescence analysis. The results demonstrate that all the objects were made from high-quality silver (above 90 wt% Ag), with the exception of the base of the Geometric Ewer B. Copper was added intentionally to improve the mechanical properties of soft silver. The gold and lead content of the objects shows constant values (less than 1 wt% Au and Pb). The chemical composition as well as the Bi/Pb ratio suggests that the parts of the composite objects were manufactured from different silver ingots. The ewers were constructed in two ways: (i) the base and the body were made separately, or (ii) the ewer was raised from a single silver sheet. The composite objects were assembled using three methods: (i) mechanical attachment; (ii) low-temperature, lead-tin soft solders; or (iii) high-temperature, copper-silver hard solders. Additionally, two types of gilding were revealed by the XRF analysis, one with remnants of mercury, i.e. fire-gilding, and another type without remnants of mercury, presumably diffusion bonding.

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