Akshara transcription of mrudangam strokes in Carnatic music

2015 Twenty First National Conference on Communications (NCC) Pub Date : 2015-04-16 DOI:10.1109/NCC.2015.7084906

Jom Kuriakose, J. Kumar, Sarala Padi, H. Murthy, Umayalpuram K. Sivaraman

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引用次数: 14

Abstract

Percussion instruments play a significant role in Carnatic music concerts. The percussion artist enjoys a great degree of freedom in improvising within the defined tala structure of a composition. The objective of this paper is to transcribe the improvisations, treating the percussion strokes as syllables or aksharas. Onset detection is performed to segment the waveform at each akshara. Using the transcriptions from the training data, a three-state Hidden Markov Model is built for each akshara. The language model is derived from the training data. Testing is also performed isolated style using onset detection to segment the phrase, and the language model to correct the transcription. Transcription is performed on both concert recordings and studio recordings. This technique yields upto ≈ 96% accuracy on studio recordings and ≈ 76% accuracy for concert recordings. As the mrudangam1 is an instrument that is based on tonic; tonic normalised features, namely, Cent Filterbank Cepstral coefficients are used. It is shown that tonic normalisation helps in transcription across different tonics.

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卡纳蒂克音乐中mrudangam笔画的Akshara转录

打击乐器在卡纳蒂克音乐会上扮演着重要的角色。打击乐艺术家在乐曲的既定塔拉结构中享有很大程度的即兴创作自由。本文的目的是抄写即兴，把打击乐的笔划当作音节或音。执行起始检测以在每个akshara处分割波形。利用训练数据的转录，为每个akshara建立一个三状态隐马尔可夫模型。语言模型由训练数据导出。测试还执行了孤立的风格，使用开始检测来分割短语，并使用语言模型来纠正转录。转录是在音乐会录音和录音室录音中进行的。这种技术在录音室录音上的准确度高达≈96%，在音乐会录音上的准确度高达≈76%。mrudangam1是一种以主音为基础的乐器;tonic归一化特征，即分滤波器组倒谱系数被使用。研究表明，主音正常化有助于不同主音的转录。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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2015 Twenty First National Conference on Communications (NCC)

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