Music Genre Classification Using Deep Learning with KNN

Music genre is a conventional category that predicts the genre of music belonging to tradition or set of conventions. A music platform, with total assets of $26 billion, is ruling the music streaming stage today. At present, it has a huge number of tunes and it is information base and claims to have the right music score for everybody. Like, Spotify, Amazon music, Wynk has put a great deal in examination to further develop the manner in which clients find and pay attention to music. AI is at the centre of their examination. From NLP to Collaborative sifting to Deep Learning, All music platforms utilizes them all. Tunes are examined dependent on their advanced marks for certain elements, including rhythm, acoustics, energy, danceability, and so forth, to answer that incomprehensible old first-date inquiry. Organizations these days use music arrangement, either to have the option to put suggestions to their clients (like Spotify, Soundcloud) or just as an item (for instance, Shazam). Deciding music sorts is the initial phase toward that path. AI procedures have ended up being very fruitful in removing patterns and examples from a huge information pool. Similar standards are applied in Music Analysis moreover. Machine learning techniques are achieved in some recent years and rarely in deep learning. Most of the current music genre classification uses Machine learning techniques. In this, we present a music dataset which includes many genres like Rock, Pop, folk, Classical and many genres. A Deep learning approach is used in order to train and classify the system using KNN.

Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns

The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.

Automatic Synthesis Technology of Music Teaching Melodies Based on Recurrent Neural Network

Computer music creation boasts broad application prospects. It generally relies on artificial intelligence (AI) and machine learning (ML) to generate the music score that matches the original mono-symbol score model or memorize/recognize the rhythms and beats of the music. However, there are very few music melody synthesis models based on artificial neural networks (ANNs). Some ANN-based models cannot adapt to the transposition invariance of original rhythm training set. To overcome the defect, this paper tries to develop an automatic synthesis technology of music teaching melodies based on recurrent neural network (RNN). Firstly, a strategy was proposed to extract the acoustic features from music melody. Next, the sequence-sequence model was adopted to synthetize general music melodies. After that, an RNN was established to synthetize music melody with singing melody, such as to find the suitable singing segments for the music melody in teaching scenario. The RNN can synthetize music melody with a short delay solely based on static acoustic features, eliminating the need for dynamic features. The proposed model was proved valid through experiments.

Implementing Antiracism in Technical Services

It is a sad reality that racist bias is inherent in cataloging standards and collection development practices. Whether racism in cataloging and collection development practices is intentional or not, Technical Service librarians can be intentional about combatting it. This article presents three antiracist projects implemented to address racism in collection development and classification. Leslie Engelson discusses the results of an effort initiated by the music faculty to determine the representation of BIPOC in the music score collection at Waterfield Library. Brinna Michael demonstrates how racist language is represented in the Library of Congress Classification schedule and her efforts at Pitts Theology Library to update call numbers. Finally, Caitlin Soma details a diversity audit of the books assigned on course reserve at Candler School of Theology to identify potential collection gaps and to encourage faculty to develop curricula that include more diverse voices.

Music Signal Recognition Based on the Mathematical and Physical Equation Inversion Method

Digitization and analysis processing technology of music signals is the core of digital music technology. The paper studies the music signal feature recognition technology based on the mathematical equation inversion method, which is aimed at designing a method that can help music learners in music learning and music composition. The paper firstly studies the modeling of music signal and its analysis and processing algorithm, combining the four elements of music sound, analyzing and extracting the characteristic parameters of notes, and establishing the mathematical model of single note signal and music score signal. The single note recognition algorithm is studied to extract the Mel frequency cepstrum coefficient of the signal and improve the DTW algorithm to achieve single note recognition. Based on the implementation of the single note algorithm, we combine the note temporal segmentation method based on the energy-entropy ratio to segment the music score into single note sequences to realize the music score recognition. The paper then goes on to study the music synthesis algorithm and perform simulations. The benchmark model demonstrates the positive correlation of pitch features on recognition through comparative experiments and explores the number of harmonics that should be attended to when recognizing different instruments. The attention network-based classification model draws on the properties of human auditory attention to improve the recognition scores of the main playing instruments and the overall recognition accuracy of all instruments. The two-stage classification model is divided into a first-stage classification model and a second-stage classification model, and the second-stage classification model consists of three residual networks, which are trained separately to specifically identify strings, winds, and percussions. This method has the highest recognition score and overall accuracy.

DESTINASI: Kolaborasi Kreatif Musik Digital, Puisi dan Tari

This research discusses the implementation of a music score into a collaboration of digital music, dance and poetry. The integration of the three arts is done by symbolizing human life from birth to adulthood. The researcher, as the creator of this Destination composition, intends to add to his repertoire by combining three different arts, namely, digital music, dance and poetry. This compositional work was created using qualitative, practice-based, practice-led and ethnographic methods. The process of making this work is by analyzing music score data taken from the results of field exploration and in combination with poetry and dance script data and then processed into the laboratory desk. The result is the creation of collaborative digital music, dance and poetry, based on the culture of human life and the author's background and life experiences. The work reflects the symbols of human life which are revealed in the poem entitled Directions of Life. Initially, Destination's composition work was a composite work created using cross-cultural (combination) elements of Western music, and Malay music (gendang Malay). Furthermore, the work is processed into a collaboration that is carried out with a combination of motion, emotion, voice intonation and digital music. The result of the collaboration of Destination's compositions is to produce a performance that combines three different arts where music is the main focus in bringing out ideas and concepts of body movement and voice intonation from dancers and poetry readers. The ability to relate ideas or ideas to a musical concept, producing a new work with the collaboration of three different arts which can be used by musicians, practitioners, and educators in Indonesia. Penelitian ini mendiskusikan implementasi sebuah skor musik menjadi kolaborasi musik digital,seni tari dan puisi. Penggabungan ketiga seni tersebut dilakukan dengan cara symbol kehidupan manusia dari mulai lahir hingga dewasa. Peneliti sebagai pencipta karya komposisi destinatioan ini bermaksud untuk menambah repertoar dengan menggunakan penggabungan tiga seni yang berbeda yaitu, musik digital, tari dan puisi. Karya komposisi ini diciptakan dengan menggunakan metode kualitatif, practice-based, practice-led dan ethnographic. Proses pembuatan karya tersebut dengan melakukan analisa data skor musik yang diambil dari hasil eksplorasi lapangan dan kombinasi dengan data script puisi dan tari kemudian diolah ke dalam desk laboratory. Hasilnya adalah terciptanya kolaborasi karya seni musik digital, tari dan puisi, berdasarkan budaya kehidupan manusia dan latar belakang penulis dan pengalaman kehidupan penulis. Di dalam karya tersebut mencerminkan symbol-symbol kehidupan manusia yang terungkap dalam puisi yang berjudul Arah Kehidupan. Awalnya Karya komposisi Destination merupakan karya penggabungan yang diciptakan menggunakan silang budaya (kombinasi) elemen-elemen musik Barat, dan musik melayu (gendang melayu). Selanjutnya karya tersebut diolah menjadi sebuah kolaborasi yang dilakukan dengan perpaduan gerak, emosi, intonasi suara dan musik digital. Hasil dari kolaborasi karya komposisi Destination adalah menghasilkan sebuah pertunjukan perpaduan tiga ilmu seni yang berbeda dimana musik sebagai fokus utama dalam memunculkan ide-ide dan konsep gerakan tubuh dan intonasi suara dari penari dan pembaca puisi. Kemampuan untuk mengaitkan idea atau gagasan terhadap sebuah konsep musik, menghasilkan sebuah karya baru dengan kolaborasi tiga seni yang berbeda dimana bisa digunakan oleh musisi, praktisi, dan edukator di Indonesia.

The Status Quo and Promotion Strategy of Music Score Literacy of Junior School Students

Understanding the music score is a fundamental skill in Music learning. It used to be the training of basic skills in the music class before the curriculum reform. However, this skill was gradually marginalized in the initial stage of curriculum reform in that it is too difficult for students to have a delightful learning experience. Since the publication of Criterion for music Curriculum 2011, music score literacy has gained a foothold again. Its theory stage is higher than before. Owing to various causes, teaching this skill is still in a dilemma in practice. With the improvement of compulsory education quality, reading music score as a necessary music skill becomes a vital position again. However, current teaching conditions cannot meet this task. Therefore, this paper chose the music proficiency test of junior school students in an area to analyze the current condition of reading music score and develop the proper improving strategies.

Stravinsky's Music Library in the Context of His Biography and Work (Based on Archival Materials From PauL Sacher Foundation)

В статье представлены результаты исследования нотной коллекции из личной библиотеки И. Ф. Стравинского, хранящейся в Фонде Пауля Захера (Базель). Собрание это представляет особый интерес как творческая лаборатория Стравинского - композитора, пианиста, дирижера. Многие экземпляры содержат дарственные надписи и пометки на полях. Издания произведений самого Стравинского с корректурами и примечаниями автора дают ценную информацию об особенностях его композиционного процесса. Нотные источники рассмотрены в статье в контексте биографии и творчества композитора, с привлечением сведений из мемуаров, корреспонденции, музыковедческой литературы. Разделы статьи отражают структуру собрания. This article presents the results of a study of the music score collection from Stravinsky's personal library, which is kept at the Paul Sacher Foundation in Basel. This collection is of particular interest as the creative laboratory of Stravinsky-a composer, pianist, conductor. Many copies have dedications, inscriptions and marginalia. The scores of Stravinsky's own works, with corrections and notes by the author, provide important information about his compositional process. Music scores from Stravinsky's library are considered in the context of his biography and work, using information from correspondence, memoirs and secondary literature. The sections of the article reflect the specifics of Stravinsky's collection.

atmospheric etudes: no 1, troposphere

As a fourth-year music composition major at MacEwan University, Mari Alice Conrad was interested in exploring the concept of vulnerability. She was particularly inspired by her recent vulnerable experiences returning to school as a mature student and sought to understand these existential experiences in more depth. This curiosity led Conrad to design a research-creation project in her Ethnomusicology course that utilized her skills in composing a musical work that explored vulnerability on three distinct levels: personal vulnerability, societal vulnerability, and global vulnerability. The first level, personal vulnerability, plunged into Conrad's personal experiences as a mature student who, by age and life experience, had been socially segregated to a minority group, and how she was processing those experiences. The second level, sociological vulnerability, specifically focused on addressing societal traditions of classical music and notational conventions for the piano. Conrad sought to displace the customary approach she had developed with the instrument since childhood and considered ways to make the piano (an inanimate object) and its notated music vulnerable. The third level was a more global, ecological, or environmental vulnerability of the weather systems found in the troposphere, the first layer of the atmosphere. Conrad wanted to understand why this layer was extremely volatile and susceptible to multiple variables and how humans interacted with the vulnerability of this force. This third level was also an area that she could universally connect with her audience (hence the title of the composition) and acted as a bridge to explore the other two levels of vulnerability in her work. Throughout the research-creation process, Conrad was able to explore the three levels of vulnerability in tremendous depth, express her interactions and discoveries of these three levels, and further disseminate her findings through notating a graphic score, recording the composition, and crafting an audiovisual representation. The final result of the research-creation composition project (music score and video) brilliantly weaves together concepts of vulnerability in a compelling and meaningful way and shares insight into how these ideas influence and encapsulate Conrad's budding artistic practice.