Topic
Quantization (music)
About: Quantization (music) is a research topic. Over the lifetime, 47 publications have been published within this topic receiving 669 citations. The topic is also known as: quantization.
Papers
TL;DR: In this paper, the authors consider the problem of separating the discrete and continuous components of musical time, which is called separation quantization (SQ) and apply it to the analysis of musical performance.
Abstract: Musical time can be considered to be the product of two time scales: the discrete time intervals of a metrical structure and the continuous time scales of tempo changes and expressive timing (Clarke 1987a). In musical notation both kinds are present, although the notation of continuous time is less developed than that of metric time (often just a word like "rubato" or "accelerando" is notated in the score). In the experimental literature, different ways in which a musician can add continuous timing changes to the metrical score have been identified. There are systematic changes in certain rhythmic forms: for example, shortening triplets (Vos and Handel 1987) and timing differences occurring in voice leading with ensemble playing (Rasch 1979). Deliberate departures from metricality, such as rubato, seem to be used to emphasize musical struc- ture, as exemplified in the phrase-final lengthening principle formalized by Todd (1985). In addition to these effects, which are collectively called expressive timing, there are nonvoluntary effects, such as random timing errors caused by the limits in the accuracy of the motor system (Shaffer 1981) and errors in mental time-keeping processes (Vorberg and Hambuch 1978). These effects are generally rather small - in the order of 10-100 msec. To make sense of most musical styles, it is necessary to separate the discrete and continuous components of musical time. We will call this process of separation quantization, although the term is generally used to reflect only the extraction of a metrical score from a musical performance.
149 citations
Book Chapter•
1 Jan 1991
TL;DR: To make sense of most musical styles, it is necessary to separate the discrete and continuous components of musical time, and the process of separation quantization is called, although the term is generally used to reflect only the extraction of a metrical score from a musical performance.
Abstract: score). In the experimental literature, different ways in which a musician can add continuous timing changes to the metrical score have been identified. There are systematic changes in certain rhythmic forms: for example, shortening triplets (Vos and Handel 1987) and timing differences occurring in voice leading with ensemble playing (Rasch 1979). Deliberate departures from metricality, such as rubato, seem to be used to emphasize musical structure, as exemplified in the phrase-final lengthening principle formalized by Todd (1985). In addition to these effects, which are collectively called expressive timing, there are nonvoluntary effects, such as random timing errors caused by the limits in the accuracy of the motor system (Shaffer 1981) and errors in mental time-keeping processes (Vorberg and Hambuch 1978). These effects are generally rather small-in the order of 10-100 msec. To make sense of most musical styles, it is necessary to separate the discrete and continuous components of musical time. We will call this process of separation quantization, although the term is generally used to reflect only the extraction of a metrical score from a musical performance. Perception of Musical Time
109 citations
1 Jan 2001
TL;DR: A technique for content-based music retrieval using a continuous pitch contour derived from a recording of the audio query instead of a quantization of the query into discrete notes, which is usually far more accurate than techniques based on discrete notes.
Abstract: In this paper we explore a technique for content-based music retrieval using a continuous pitch contour derived from a recording of the audio query instead of a quantization of the query into discrete notes. Our system determines the pitch for each unit of time in the query and then uses a time-warping algorithm to match this string of pitches against songs in a database of MIDI files. This technique, while much slower at matching, is usually far more accurate than techniques based on discrete notes. It would be an ideal technique to use to provide the final ranking of candidate results produced by a faster but lest robust matching algorithm.
77 citations
5 Jun 2012
TL;DR: This paper proposed an algorithm for instance search that outperformed all submissions on the instance search dataset TRECVID 2011, and showed that the top performance is mainly due to similar scene retrieval, instead of the same instance search.
Abstract: A very promising application involving video collections is to search for relevant video segments from a video database when given few visual examples of the specific instance, e.g. a person, object, or place. However, this problem is difficult due to the lighting variations, different viewpoints, partial occlusion, and large changes in appearance. In this paper, we focus on a kind of restricted instance searching task, where the region of a specific instance to be searched for is manually labeled on each query image. We formulate this problem in a large vocabulary quantization based Bag-of-Words framework, while putting more research emphasis on investigating to what extent we can benefit from these labeled instance regions. The contribution of this paper mainly lies in two aspects: first, we proposed an algorithm for instance search that outperformed all submissions on the instance search dataset TRECVID 2011. Secondly, after thoroughly analyzing the experiment results, we show that our top performance is mainly due to similar scene retrieval, instead of the same instance search. This observation reveals that in the current dataset background is more dominated than instance, and it also suggests that a promising direction in which to further improve the current algorithm, which may also be the breakthrough for achieving this challenge, is to investigate more about how to truly take advantage of additional labeled instance regions. We believe our research opens a window for future new methods for searching instance.
59 citations
TL;DR: The Vocolo as mentioned in this paper is an electronic voice-controlled musical instrument, in which the player hums into the mouthpiece, and the device imitates the sound of a musical instrument whose pitch and volume change in response to the player's voice.
Abstract: An electronic, voice-controlled musical instrument called the Vocolo, in which the player hums into the mouthpiece, and the device imitates the sound of a musical instrument whose pitch and volume change in response to the player's voice is disclosed. The player is given the impression of playing the actual instrument and controlling it intimately with the fine nuances of his voice. The invention comprises techniques for pitch quantization that provide esthetically pleasing note transitions, mechanisms for song recording that are suited for rhythmic repeated playback and performance evaluation of the player's pitch control, techniques related to expressive control and pitch detection, and techniques for mitigating the effect of pitch detection errors. Embodiments are disclosed for providing finger/hand interaction for expressive control, a microphone enclosure that mitigates audio feedback, and for providing rhythmic feedback to the player through mechanical vibrations induced in the device.
53 citations
Performance Metrics
| Year | Papers |
|---|---|
| 2021 | 5 |
| 2020 | 2 |
| 2019 | 6 |
| 2018 | 3 |
| 2017 | 1 |
| 2016 | 1 |