Ein hundert fünfzehn weltliche u. einige geistliche Lieder mit deutschem, lateinischem, französischem und italienischem Text zu vier, fünf und sechs Stimmen gesetzt von den bedeutendsten Meistern des XV. und XVI. Jahrhunderts...

Contains polyphonic vocal works by various composers, including Heinrich Isaac, Ludwig Senfl, Thomas Stoltzer, Stephan Mahu, Mathias Eckel, Wilhelm Braytengrässer, Sixt Dieterich, Arnold von Bruck, Crecquillon, Gombert, Lupus, Richafort, and Verdelot.

Novel melody line identification algorithm for polyphonic MIDI music

The problem of automatic melody line identification in a MIDI file plays an important role towards taking QBH systems to the next level. We present here, a novel algorithm to identify the melody line in a polyphonic MIDI file. A note pruning and track/channel ranking method is used to identify the melody line. We use results from musicology to derive certain simple heuristics for the note pruning stage. This helps in the robustness of the algorithm, by way of discarding "spurious" notes. A ranking based on the melodic information in each track/channel enables us to choose the melody line accurately. Our algorithm makes no assumption about MIDI performer specific parameters, is simple and achieves an accuracy of 97% in identifying the melody line correctly. This algorithm is currently being used by us in a QBH system built in our lab.

A post processing technique for improved harmonic/percussion separation in polyphonic speech

In this paper we propose a postprocessing technique for a spectrogram diffusion based harmonic/percussion decom- position algorithm. The proposed technique removes har- monic instrument leakages in the percussion enhanced out- puts of the baseline algorithm. The technique uses median filtering and an adaptive detection of percussive segments in subbands followed by piecewise signal reconstruction using envelope properties to ensure that percussion is enhanced while harmonic leakages are suppressed. A new binary mask is created for the percussion signal which upon applying on the original signal improves harmonic versus percussion separation. We compare our algorithm with two recent techniques and show that on a database of polyphonic Indian music, the postprocessing algorithm improves the harmonic versus percussion decomposition significantly.

STUDENT'S-t MIXTURE MODEL BASED MULTI-INSTRUMENT RECOGNITION IN POLYPHONIC MUSIC

We address the problem of multi-instrument recognition in polyphonic music signals. Individual instruments are modeled within a stochastic framework using Student's-t Mixture Models (tMMs). We impose a mixture of these instrument models on the polyphonic signal model. No a priori knowledge is assumed about the number of instruments in the polyphony. The mixture weights are estimated in a latent variable framework from the polyphonic data using an Expectation Maximization (EM) algorithm, derived for the proposed approach. The weights are shown to indicate instrument activity. The output of the algorithm is an Instrument Activity Graph (IAG), using which, it is possible to find out the instruments that are active at a given time. An average F-ratio of 0 : 7 5 is obtained for polyphonies containing 2-5 instruments, on a experimental test set of 8 instruments: clarinet, flute, guitar, harp, mandolin, piano, trombone and violin.

MULTI-INSTRUMENT DETECTION IN POLYPHONIC MUSIC USING GAUSSIAN MIXTURE BASED FACTORIAL HMM

We formulate the problem of detecting the constituent instruments in a polyphonic music piece as a joint decoding problem. From monophonic data, parametric Gaussian Mixture Hidden Markov Models (GM-HMM) are obtained for each instrument. We propose a method to use the above models in a factorial framework, termed as Factorial GM-HMM (F-GM-HMM). The states are jointly inferred to explain the evolution of each instrument in the mixture observation sequence. The dependencies are decoupled using variational inference technique. We show that the joint time evolution of all instruments' states can be captured using F-GM-HMM. We compare performance of proposed method with that of Student's-t mixture model (tMM) and GM-HMM in an existing latent variable framework. Experiments on two to five polyphony with 8 instrument models trained on the RWC dataset, tested on RWC and TRIOS datasets show that F-GM-HMM gives an advantage over the other considered models in segments containing co-occurring instruments.

Visualization of polyphonic voices inter-animation in CSCL chats

Trausan-Matu, S., & Dascalu, M. (2015). Visualization of Polyphonic Voices Inter-animation in CSCL Chats. Revista Romana de Interactiune Om-Calculator, 8(4), 305–322.

Voices in search of a reader: the polyphonic writing of António Lobo Antunes

This paper aims at analysing the writing of the Portuguese author António Lobo Antunes, considered one of the major writers in European Literature with 26 books published, by focusing on the strategies deployed in his texts of creating micro-narratives within the main frame, and conveying the elements of individual and collective memory, past and present, the self and the others, using various voices and silences. Lobo Antunes incorporates in his writing his background as a psychiatrist at a Mental Hospital in Lisbon, until 1985 (when he decided to commit exclusively to writing), his experience as a doctor in the Portuguese Colonial War battlefield, but also the daily routines of the pre and post 25th of April 1974 (Portuguese Revolution) with subtle and ironic details of the life of the middle and upper class of Lisbon‘s society: from the traumas of the war to the simple story of the janitor, or the couple who struggles to keep their marriage functional, everything serves as material to develop and interweave a complex plot, that a lot of readers find too enwrapped and difficult to follow through. Some excerpts taken from his first three novels and books of Chronicles and his later novel – Ontem não te Vi em Babilónia (2006) – will be put forward to exemplify the complexity of the writing and the main difficulties of the reader, lost in a multitude of narrators‘ voices. Recently, Lobo Antunes has commented on his work stating: What I write can be read in the darkness. This paper aims at throwing some light by unfolding some of the strategies employed to defy new borders in the process of reading.

CLOCK-controlled polyphonic regulation of circadian rhythms through canonical and noncanonical E-boxes.

In mammalian circadian clockwork, the CLOCK-BMAL1 complex binds to DNA enhancers of target genes and drives circadian oscillation of transcription. Here we identified 7,978 CLOCK-binding sites in mouse liver by chromatin immunoprecipitation-sequencing (ChIP-Seq), and a newly developed bioinformatics method, motif centrality analysis of ChIP-Seq (MOCCS), revealed a genome-wide distribution of previously unappreciated noncanonical E-boxes targeted by CLOCK. In vitro promoter assays showed that CACGNG, CACGTT, and CATG(T/C)G are functional CLOCK-binding motifs. Furthermore, we extensively revealed rhythmically expressed genes by poly(A)-tailed RNA-Seq and identified 1,629 CLOCK target genes within 11,926 genes expressed in the liver. Our analysis also revealed rhythmically expressed genes that have no apparent CLOCK-binding site, indicating the importance of indirect transcriptional and posttranscriptional regulations. Indirect transcriptional regulation is represented by rhythmic expression of CLOCK-regulated transcription factors, such as Krüppel-like factors (KLFs). Indirect posttranscriptional regulation involves rhythmic microRNAs that were identified by small-RNA-Seq. Collectively, CLOCK-dependent direct transactivation through multiple E-boxes and indirect regulations polyphonically orchestrate dynamic circadian outputs.

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