Relevant bibliographies by topics / Music to partition alignment

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music to partition alignment'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Music to partition alignment"

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Kasri, Soumaya, and Fouzia Benchikha. "Large-scale ontologies: pattern and partition-based alignment." International Journal of Web Science 1, no. 1/2 (2011): 36. http://dx.doi.org/10.1504/ijws.2011.044081.

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Roshan, U., and D. R. Livesay. "Probalign: multiple sequence alignment using partition function posterior probabilities." Bioinformatics 22, no. 22 (2006): 2715–21. http://dx.doi.org/10.1093/bioinformatics/btl472.

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Dannenberg, Roger B., and Christopher Raphael. "Music score alignment and computer accompaniment." Communications of the ACM 49, no. 8 (2006): 38–43. http://dx.doi.org/10.1145/1145287.1145311.

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Camarena-Ibarrola, Antonio, and Edgar Chávez. "Online music tracking with global alignment." International Journal of Machine Learning and Cybernetics 2, no. 3 (2011): 147–56. http://dx.doi.org/10.1007/s13042-011-0025-0.

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Kurth, Richard. "Partition Lattices in Twelve-Tone Music: An Introduction." Journal of Music Theory 43, no. 1 (1999): 21. http://dx.doi.org/10.2307/3090689.

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Temperley, Nicholas, and David Temperley. "Stress-meter alignment in French vocal music." Journal of the Acoustical Society of America 134, no. 1 (2013): 520–27. http://dx.doi.org/10.1121/1.4807566.

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Wong, Chi Hang, Wai Man Szeto, and Kin Hong Wong. "Automatic lyrics alignment for Cantonese popular music." Multimedia Systems 12, no. 4-5 (2006): 307–23. http://dx.doi.org/10.1007/s00530-006-0055-8.

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Peng, Yaxin, Naiwu Wen, Chaomin Shen, Xiaohuang Zhu, and Shihui Ying. "Parallel calibration based on modified trim strategy." Assembly Automation 40, no. 2 (2019): 249–56. http://dx.doi.org/10.1108/aa-06-2019-0104.

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Purpose Partial alignment for 3 D point sets is a challenging problem for laser calibration and robot calibration due to the unbalance of data sets, especially when the overlap of data sets is low. Geometric features can promote the accuracy of alignment. However, the corresponding feature extraction methods are time consuming. The purpose of this paper is to find a framework for partial alignment by an adaptive trimmed strategy. Design/methodology/approach First, the authors propose an adaptive trimmed strategy based on point feature histograms (PFH) coding. Second, they obtain an initial transformation based on this partition, which improves the accuracy of the normal direction weighted trimmed iterative closest point (ICP) method. Third, they conduct a series of GPU parallel implementations for time efficiency. Findings The initial partition based on PFH feature improves the accuracy of the partial registration significantly. Moreover, the parallel GPU algorithms accelerate the alignment process. Research limitations/implications This study is applicable to rigid transformation so far. It could be extended to non-rigid transformation. Practical implications In practice, point set alignment for calibration is a technique widely used in the fields of aircraft assembly, industry examination, simultaneous localization and mapping and surgery navigation. Social implications Point set calibration is a building block in the field of intelligent manufacturing. Originality/value The contributions are as follows: first, the authors introduce a novel coarse alignment as an initial calibration by PFH descriptor similarity, which can be viewed as a coarse trimmed process by partitioning the data to the almost overlap part and the rest part; second, they reduce the computation time by GPU parallel coding during the acquisition of feature descriptor; finally, they use the weighted trimmed ICP method to refine the transformation.
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Chikkagoudar, S., D. R. Livesay, and U. Roshan. "PLAST-ncRNA: Partition function Local Alignment Search Tool for non-coding RNA sequences." Nucleic Acids Research 38, Web Server (2010): W59—W63. http://dx.doi.org/10.1093/nar/gkq487.

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Meron, Yoram, and Keikichi Hirose. "Automatic alignment of a musical score to performed music." Acoustical Science and Technology 22, no. 3 (2001): 189–98. http://dx.doi.org/10.1250/ast.22.189.

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Dissertations / Theses on the topic "Music to partition alignment"

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Cuvillier, Philippe. "On temporal coherency of probabilistic models for audio-to-score alignment." Thesis, Paris 6, 2016. http://www.theses.fr/2016PA066532/document.

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Cette thèse porte sur l'alignement automatique d'un enregistrement audio avec la partition de musique correspondante. Nous adoptons une approche probabiliste et proposons une démarche théorique pour la modélisation algorithmique de ce problème d'alignement automatique. La question est de modéliser l'évolution temporelle des événements par des processus stochastiques. Notre démarche part d'une spécificité de l'alignement musical : une partition attribue à chaque événement une durée nominale, qui est une information a priori sur la durée probable d'occurrence de l'événement. La problématique qui nous occupe est celle de la modélisation probabiliste de cette information de durée. Nous définissons la notion de cohérence temporelle à travers plusieurs critères de cohérence que devrait respecter tout algorithme d'alignement musical. Ensuite, nous menons une démarche axiomatique autour du cas des modèles de semi-Markov cachés. Nous démontrons que ces critères sont respectés lorsque des conditions mathématiques particulières sont vérifiées par les lois a priori du modèle probabiliste de la partition. Ces conditions proviennent de deux domaines mathématiques jusqu'ici étrangers à la question de l'alignement : les processus de Lévy et la totale positivité d'ordre deux. De nouveaux résultats théoriques sont démontrés sur l'interrelation entre ces deux notions. En outre, les bienfaits pratiques de ces résultats théoriques sont démontrés expérimentalement sur des algorithmes d'alignement en temps réel<br>This thesis deals with automatic alignment of audio recordings with corresponding music scores. We study algorithmic solutions for this problem in the framework of probabilistic models which represent hidden evolution on the music score as stochastic process. We begin this work by investigating theoretical foundations of the design of such models. To do so, we undertake an axiomatic approach which is based on an application peculiarity: music scores provide nominal duration for each event, which is a hint for the actual and unknown duration. Thus, modeling this specific temporal structure through stochastic processes is our main problematic. We define temporal coherency as compliance with such prior information and refine this abstract notion by stating two criteria of coherency. Focusing on hidden semi-Markov models, we demonstrate that coherency is guaranteed by specific mathematical conditions on the probabilistic design and that fulfilling these prescriptions significantly improves precision of alignment algorithms. Such conditions are derived by combining two fields of mathematics, Lévy processes and total positivity of order 2. This is why the second part of this work is a theoretical investigation which extends existing results in the related literature
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Lajugie, Rémi. "Prédiction structurée pour l’analyse de données séquentielles." Thesis, Paris, Ecole normale supérieure, 2015. http://www.theses.fr/2015ENSU0024/document.

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Dans cette thèse nous nous intéressons à des problèmes d’apprentissage automatique dans le cadre de sorties structurées avec une structure séquentielle. D’une part, nous considérons le problème de l’apprentissage de mesure de similarité pour deux tâches : (i) la détection de rupture dans des signaux multivariés et (ii) le problème de déformation temporelle entre paires de signaux. Les méthodes généralement utilisées pour résoudre ces deux problèmes dépendent fortement d’une mesure de similarité. Nous apprenons une mesure de similarité à partir de données totalement étiquetées. Nous présentons des algorithmes usuels de prédiction structuré, efficaces pour effectuer l’apprentissage. Nous validons notre approche sur des données réelles venant de divers domaines. D’autre part, nous nous intéressons au problème de la faible supervision pour la tâche d’alignement d’un enregistrement audio sur la partition jouée. Nous considérons la partition comme une représentation symbolique donnant (i) une information complète sur l’ordre des symboles et (ii) une information approximative sur la forme de l’alignement attendu. Nous apprenons un classifieur pour chaque symbole avec ces informations. Nous développons une méthode d’apprentissage fondée sur l’optimisation d’une fonction convexe. Nous démontrons la validité de l’approche sur des données musicales<br>In this manuscript, we consider structured machine learning problems and consider more precisely the ones involving sequential structure. In a first part, we consider the problem of similarity measure learning for two tasks where sequential structure is at stake: (i) the multivariate change-point detection and (ii) the time warping of pairs of time series. The methods generally used to solve these tasks rely on a similarity measure to compare timestamps. We propose to learn a similarity measure from fully labelled data, i.e., signals already segmented or pairs of signals for which the optimal time warping is known. Using standard structured prediction methods, we present algorithmically efficient ways for learning. We propose to use loss functions specifically designed for the tasks. We validate our approach on real-world data. In a second part, we focus on the problem of weak supervision, in which sequential data are not totally labeled. We focus on the problem of aligning an audio recording with its score. We consider the score as a symbolic representation giving: (i) a complete information about the order of events or notes played and (ii) an approximate idea about the expected shape of the alignment. We propose to learn a classifier for each note using this information. Our learning problem is based onthe optimization of a convex function that takes advantage of the weak supervision and of the sequential structure of data. Our approach is validated through experiments on the task of audio-to-score on real musical data
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Maezawa, Akira. "Bayesian Music Alignment." 京都大学 (Kyoto University), 2015. http://hdl.handle.net/2433/199430.

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Johnson, William E. "TONE ROW PARTITIONS IN SCHOENBERG'S MOSES UND ARON The Volk Partition and the Zwischenspiel Partition." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/264.

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Arnold Schoenberg's development of twelve-tone serial ism in the early 20th Century had profound and far-reaching impact on the musical world. As Schoenberg himself grew and matured as a composer, so did the compositional technique of, and indeed his proficiency with, serialism. The opera Moses und Aron was composed in Schoenberg's third compositional period that lasted from 1923 through Schoenberg's death in 1951 and was characterized almost exclusively by this new technique of twelvetone serialism. Moses und Aron's first two Acts (as well as the libretto for the third) were written from 1930 to 1932 and based entirely on a single tone row. Though the opera itself was composed in the early 1930s, it had its beginnings as a religious play, similar to Schoenberg's earlier work, Oer Biblische Weg. Schoenberg left the opera as it was in 1932 and failed to return to score the libretto in Act III. Despite remaining unfinished, Moses und Aron is still widely regarded as one of Schoenberg's finest works and displays a composer working at the height of his skill. This project brings to light the brilliance of the tone row Schoenberg chose as his foundation for Moses und Aron through examining the various tone row transformations used throughout the opera as well as their specific setting and orchestration within the context of each scene. More than simply a musical background for the dramatic events of the Exodus narrative, the tone row becomes a character in-and-of itself, transforming and shifting to mirror dramatic events and becoming a driving force throughout the opera. In addition to informing dramatic content and context, the way in which Schoenberg scores the tone row also helps to illuminate the large scale musical form of each scene and is even essential to the dramatic tension and characterization within the narrative. In addition, this project endeavors to show that Moses und Aron displays Schoenberg's mastery of the compositional technique of twelve-tone serialism by examining in detail the significance of the functional orchestration as well as the divisions, or partitions, of Schoenberg's twelve-tone row. Inseparably connected with a discussion of the functional orchestration and partitioning of Schoenberg's tone row is a discussion of the different kinds of counterpoint that often occur as a result of such partitioning within the choral and instrumental orchestration of Moses und Aron. These concepts of functional orchestration, partitioning, and multiple forms of counterpoint are defined and unpacked in the upcoming chapters. As counterpoint functions as such an important aspect of the partitioning of the tone row, a brief discussion of counterpoint in serialism, specifically in Moses und Aron, accompanies the discussion of functional orchestration and the row partitioning. This understanding of the function of counterpoint in twelve-tone serial atonality is essential to this study. Much has been written, specifically by Michael Cherlin, about the formal and dramatic organization of Moses und Aron and how Schoenberg's permutations of his tone row both influence and are influenced by the formal and dramatic context. Cherlin has also given significant attention to defining links between tone row partitions and dramatic events or characters within Moses und Aron. An important part of my research, therefore, includes examining the analytical findings of Cherlin as well as those from other scholarly sources. This project also challenges or supports these findings based on my own analysis and discusses what I believe to be a new facet of the organization of Moses und Aron not previously revealed in other studies. In Chapter 5 of this project, I bring to light two specific partitions of the row that occur within the choral counterpoint of the opera and have not been mentioned in any study of Moses und Aron that I have discovered in my research.
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Koike, Ryoaro. "Comparison of Protein Sequences and Structures based on the Partition Function Formulation : Probabilistic Alignment." 京都大学 (Kyoto University), 2003. http://hdl.handle.net/2433/148598.

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Wang, Siying. "Computational methods for the alignment and score-informed transcription of piano music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30885.

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This thesis is concerned with computational methods for alignment and score-informed transcription of piano music. Firstly, several methods are proposed to improve the alignment robustness and accuracywhen various versions of one piece of music showcomplex differences with respect to acoustic conditions or musical interpretation. Secondly, score to performance alignment is applied to enable score-informed transcription. Although music alignment methods have considerably improved in accuracy in recent years, the task remains challenging. The research in this thesis aims to improve the robustness for some cases where there are substantial differences between versions and state-of-the-art methods may fail in identifying a correct alignment. This thesis first exploits the availability of multiple versions of the piece to be aligned. By processing these jointly, the alignment process can be stabilised by exploiting additional examples of how a section might be interpreted or which acoustic conditions may arise. Two methods are proposed, progressive alignment and profile HMM, both adapted from the multiple biological sequence alignment task. Experiments demonstrate that these methods can indeed improve the alignment accuracy and robustness over comparable pairwise methods. Secondly, this thesis presents a score to performance alignment method that can improve the robustness in cases where some musical voices, such as the melody, are played asynchronously to others - a stylistic device used in musical expression. The asynchronies between the melody and the accompaniment are handled by treating the voices as separate timelines in a multi-dimensional variant of dynamic time warping (DTW). The method measurably improves the alignment accuracy for pieces with asynchronous voices and preserves the accuracy otherwise. Once an accurate alignment between a score and an audio recording is available, the score information can be exploited as prior knowledge in automatic music transcription (AMT), for scenarios where score is available, such as music tutoring. Score-informed dictionary learning is used to learn the spectral pattern of each pitch that describes the energy distribution of the associated notes in the recording. More precisely, the dictionary learning process in non-negative matrix factorization (NMF) is constrained using the aligned score. This way, by adapting the dictionary to a given recording, the proposed method improves the accuracy over the state-of-the-art.
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Robertson, Hannah. "Testing a new tool for alignment of musical recordings." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121523.

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Audio-to-audio alignment of musical recordings is the mapping of events in one recording to their corresponding events in other recordings of the same underlying musical piece. Among other applications, musical audio-to-audio alignment is used for: comparing and analyzing musical performances; finding different performances and arrangements of a musical work in a database; discovering musical motifs in field recordings of folk music; automatically synchronizing multiple takes (re-recordings of specific excerpts) in a recording studio; and aligning a musician's performance to a score in realtime, for purposes of interactive performance such as automated accompaniment. This thesis investigates audio-to-audio alignment by an algorithm that has not previously been applied to music, the continuous profile model (CPM) (Listgarten et al. 2005).In this thesis, the CPM is used to align pairs of recordings (pairwise alignment) as well as groups containing more than two recordings (multiple alignment). A standard evaluation methodology is used to systematically compare pairwise alignment by the CPM to pairwise alignment by dynamic time warping (DTW), the algorithm most frequently used for audio-to-audio alignment of music. The evaluation methodology is then generalized to multiple dimensions in order to compare two approaches to multiple alignment: simultaneous multiple alignment with the CPM and iterative pairwise alignment with DTW.<br>L'alignement audio-audio des enregistrements sonores est le mappage de certains moments dans un enregistrement aux moments correspondants dans d'autres enregistrements de la même pièce musicale. Parmi d'autres applications, l'alignement audio-audio sert à: comparer et analyser des performances musicales; trouver de plusieurs performances et arrangements d'une oeuvre musicale dans une base de données; découvrir des motifs musicaux dans des enregistrements de terrain de la musique folk; synchroniser automatiquement de multiples prises (réenregistrements d'extraits spécifiques) dans un studio d'enregistrements; et aligner une performance d'un musicien qui utilise une partition en temps réel pour permettre des performances interactifs avec des ordinateurs, par exemple, l'accompagnement automatisé. Dans cette thèse, on examine l'alignement des enregistrements musicaux accompli par un algorithme qui n'a auparavant jamais été appliqué à la musique qui s'appelle le « modèle du profil continu » (« continuous profile model » ou « CPM » en anglais) (Listgarten et al. 2005).Cette thèse examine la CPM pour les alignements deux à deux et les alignements multiples des enregistrements sonores. On emploie une méthodologie standard pour comparer systématiquement l'alignement deux à deux accompli par le CPM à l'alignement deux à deux accompli par la « déformation temporelle dynamique » (en anglais, « dynamic time warping » ou « DTW »), l'algorithme le plus souvent employé pour l'alignement audio-audio de la musique. La méthodologie d'évaluation est ensuite généralisé à plusieurs dimensions à comparer deux approches pour l'alignement multiple: alignement multiple simultanée par le CPM à itérative alignement par paires avec DTW.
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前澤, 陽. "ベイス推定に基づく音楽アライメント". Kyoto University, 2015. http://hdl.handle.net/2433/199552.

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Foscarin, Francesco. "The musical score : a challenging goal for automatic music transcription." Electronic Thesis or Diss., Paris, CNAM, 2020. http://www.theses.fr/2020CNAM1285.

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Les partitions musicales sont des artefacts d’une grande complexité sémiotique visant à transmettre toutes les informations relatives à la structure et au contenu d’une œuvre musicale de manière compacte, lisible et cohérente. De nos jours, la musique est la plupart du temps diffusée sous forme enregistrée. Un système capable de transformer automatiquement une interprétation musicale en partition serait donc extrêmement bénéfique pour les interprètes et les musicologues. Cette tâche, appelée “automatic music transcription” (AMT), comprend plusieurs sous-tâches qui impliquent notamment la transformation de représentations intermédiaires comme le MIDI, quantifié ou non. Nous d´défendons dans cette thèse l’idée qu’un modèle robuste et bien structure des informations contenues dans une partition musicale aiderait au développement et à l’évaluation de systèmes AMT. En particulier, nous préconisons une s´séparation claire entre le contenu musical encodé dans la partition et l’ensemble des signes et des règles de notation utilisés pour représenter graphiquement ce contenu<br>A musical score is a complex semiotic object that excels at conveying musical information in a human readable format. Nowadays, a lot of music is available exclusively as recorded performances, so systems which can automatically transform those performances into musical scores would be extremely beneficial for performers and musicologists. This task, called automatic music transcription (AMT), comprises a large number of subtasks which generically transform the performance input into higher level representations, such as unquantized and quantized MIDI files. We believe that a clear model of the information contained in a musical score would help the development and the evaluation of AMT systems. In particular we advocate for a clear separation between the music which the score encodes and the set of notation symbols which is employed to represent it
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Sethson, Mea. "The Alexander Technique for a singing actor." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84849.

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Abstract This thesis examines the postural effects of Alexander Technique training on a classical singer. The aim was to see how working with an Alexander Technique instructor would improve my singing. I have been taking lessons in Alexander technique on a weekly basis and practicing Alexander technique for approximately an hour each day. I have conducted an interview with singer and longtime Alexander technique practitioner, Anne Cecilie Røsjø Kvammen. I have talked to my physiotherapist, Carl Colliander, about pain linked to a tight psoas muscle. Four songs were memorized and recorded two times, once in December and once in April. The recordings were analyzed, first by me and then by Barbro Olsson, Alexander technique instructor. I found that my alignment has generally improved and, as a result, my head position has become more stable. I have become better at managing stress during performances. The enhanced awareness of alignment has helped me make more successful choices in the practice rooms. It also has made me better at interpreting my singing pedagogue’s instructions during lessons. Additionally I have less pain, especially in the neck area.
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Books on the topic "Music to partition alignment"

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Frédéric, Gaussin, ed. La partition d'une vie. Écriture, 2012.

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Wiggli, Oscar. Partition forgée: Sculptures et compositions musicales. Editions Iroise, 1995.

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Siron, Jacques. La partition intérieure: Jazz, musiques improvisées. Outre Mesure, 1992.

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Rimmer, Mark. Community Music and Youth. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.28.

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Recent years have witnessed an increasing alignment between community music activity and youth. From the range of community music-style activities taking place across formal domains of youth provision, to the youth-oriented musical activities occurring within informal settings, many commentators have come to see community music activities as holding particular relevance and value in relation to youth. Importantly, however, the assumptions lying behind the purportedly ‘special’ relationship between community music and youth—as well as their implications for the nature of much youth-focused community music activity—too often go unexamined. This chapter critically interrogates some of the key ways in which this relationship is commonly understood, and then examines how these sit alongside the broader purposes and values commonly associated with community music.
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Rajadhyaksha, Ashish. 3. Partition and the ‘all-India’ film. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0003.

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India officially became ‘independent’ in 1947 and a Republic in 1950. Neither were easy transitions. The cinema would inherit all of India’s political contradictions. It would soon become apparent that India, once incapable of creating an ‘Empire’ film, was now equally unable to provide the newly free country with a properly nationalist cinema. ‘Partition and the “all-India” film’ describes India’s film industry in Bombay after the war; the arrival of the most famous stars; the success of film music; and the impact of independent auteurs Satyajit Ray, Guru Dutt, and Ritwik Ghatak, who defined local industries as they emerged from out of the shadow of Bombay.
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McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.
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Rardin, Paul. Building Sound and Skills in the Men’s Chorus at Colleges and Universities in the United States. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.26.

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Conductors of collegiate men’s choruses face unique challenges in building excellent choirs. They are likely to lead ensembles with disproportionately wide gaps between their most- and least-experienced singers, with a plurality or even majority of non-music majors—and may need to teach voice as much as they conduct. This chapter offers rehearsal techniques for these conductors which involve learning and utilizing vocal pedagogy, imparting basic phonation, and utilizing vocal tone exercises to build foundation and sound in a choir or glee club. They must then create a sense of community within their musically and vocally diverse choir; instill habits that lead to effective “core singing,” combining alignment, breathing technique, and resonance; and help male singers navigate shifts between their vocal registers.
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Cook, Nicholas. Seeing Sound, Hearing the Body. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.7.

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This chapter argues that visual and embodied dimensions of performance are integral to the experience of live music. The author describes this as the “old multimedia,” since the principles of intermedial alignment and meaning production in performance are in essence the same as in the “new multimedia” that forms the dominant mode of music consumption in the twenty-first century. The chapter largely consists of an extended case study based on two filmed performances by Glenn Gould of the first movement of Anton Webern’sPiano Variations, Op. 27. It addresses the role in Gould’s interpretations of hand lifts, body sway, and other physical gestures; the way in which his interpretation changed over time, as evidenced not only by these filmed performances but also by his audio recordings; the differences between interpretations designed for film and for sound recording; and what all this implies about the relationship between composer and performer.
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McClymond, Michael J. The Bible and Pentecostalism. Edited by Paul C. Gutjahr. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190258849.013.25.

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Pentecostal biblical interpretation rests on a hermeneutics of fulfillment, summarized in the words “this is that” (Acts 2:16). It presumes that an outpouring of the Holy Spirit is already in process and more is yet to come. Pentecostals construe the Bible not as detached, cognitive content, but as an active, efficacious power that they seek to enact experientially. Pentecostals try to bring their affective experience into alignment with scripture (orthopathy), and to live, feel, and act “as” biblical figures. Pentecostal preaching—especially in the black church—collapses the “two horizons” to effect a re-living of biblical stories. Neo-Pentecostalism brings a “Davidic” focus (worship, music, praise, spiritual warfare) alongside the “Lucan” focus of classical Pentecostalism (Spirit baptism, tongues-speaking, missions). By adopting New Testament supernaturalism with utter seriousness and treating first-century experiences as normative, Pentecostalism mediated between early twentieth-century fundamentalist biblical literalism and modernist contemporaneous experientialism, synthesizing these competing emphases.
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Savvidou, Paola. Teaching the Whole Musician. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190868796.001.0001.

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This book offers applied music instructors a practical guide for supporting their students’ wellness by integrating holistic techniques into their pedagogy. The main argument in this book is that the mentorship dynamic within the applied studio situates pedagogues in a unique position to guide and mentor their students toward a healthy and satisfying artistic life. Wellness, as a relatively new dimension within health education for musicians, can be intimidating for applied instructors. Many teachers lack the training and confidence to enter conversations in this arena. Grounded in recent research, coupled with extensive in-person interviews with students, faculty, and healthcare professionals, this book demystifies the causes, challenges, and limiting factors around maintaining a healthy artistic practice, while revealing practical solutions for achieving and maintaining wellness as a performing artist. Each chapter includes a toolkit of practical exercises and activities that can be easily integrated within the applied lesson. Topics covered include injury prevention, alignment and the breathing mechanism, mental health, contemplative practices, Laban Movement Analysis, nutrition, and sleep.
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Book chapters on the topic "Music to partition alignment"

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Mynett, Mark. "Edits, Polarity and Phase Alignment, Samples, and Gates." In Metal Music Manual. Routledge, 2017. http://dx.doi.org/10.4324/9781315750071-11.

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Bemman, Brian, and David Meredith. "Exact Cover Problem in Milton Babbitt’s All-Partition Array." In Mathematics and Computation in Music. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20603-5_25.

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Allali, Julien, Pascal Ferraro, Pierre Hanna, and Matthias Robine. "Polyphonic Alignment Algorithms for Symbolic Music Retrieval." In Auditory Display. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-12439-6_24.

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Riba, Pau, Alicia Fornés, and Josep Lladós. "Towards the Alignment of Handwritten Music Scores." In Graphic Recognition. Current Trends and Challenges. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-52159-6_8.

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Zhuang, Yan, Guoliang Li, Zhuojian Zhong, and Jianhua Feng. "PBA: Partition and Blocking Based Alignment for Large Knowledge Bases." In Database Systems for Advanced Applications. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32025-0_26.

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Frauenfelder, U. H. "Lexical alignment and activation in spoken word recognition." In Music, Language, Speech and Brain. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_27.

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Miotto, Riccardo, Nicola Montecchio, and Nicola Orio. "Statistical Music Modeling Aimed at Identification and Alignment." In Advances in Music Information Retrieval. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11674-2_9.

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Vatolkin, Igor, Wolfgang Theimer, and Martin Botteck. "Partition Based Feature Processing for Improved Music Classification." In Challenges at the Interface of Data Analysis, Computer Science, and Optimization. Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-24466-7_42.

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Kapuria, Radha. "Music and its Many Memories: Complicating 1947 for the Punjab." In Partition and the Practice of Memory. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64516-2_2.

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Chung, Li Wai. "Sikh music and its revival in post-partition India." In Routledge Handbook of Asian Music: Cultural Intersections. Routledge, 2021. http://dx.doi.org/10.4324/9781003142720-11.

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Conference papers on the topic "Music to partition alignment"

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Macrae, Robert, Xavier Anguera, and Nuria Oliver. "MuViSync: Realtime music video alignment." In 2010 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2010. http://dx.doi.org/10.1109/icme.2010.5583863.

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Sukhija, Sanatan, Srenivas Varadarajan, Narayanan C. Krishnan, and Sujit Rai. "Multi-Partition Feature Alignment Network for Unsupervised Domain Adaptation." In 2020 International Joint Conference on Neural Networks (IJCNN). IEEE, 2020. http://dx.doi.org/10.1109/ijcnn48605.2020.9207017.

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Ren, Yuxiang, Lin Meng, and Jiawei Zhang. "Scalable Heterogeneous Social Network Alignment through Synergistic Graph Partition." In HT '20: 31st ACM Conference on Hypertext and Social Media. ACM, 2020. http://dx.doi.org/10.1145/3372923.3404799.

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Gupta, Chitralekha, Emre Yilmaz, and Haizhou Li. "Automatic Lyrics Alignment and Transcription in Polyphonic Music: Does Background Music Help?" In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9054567.

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Su, Ja-Hwung, Shao-Yu Fu, and Vincent S. Tseng. "Effective Music Retrieval by Sequential Pattern-Based Alignment." In 2012 Conference on Technologies and Applications of Artificial Intelligence (TAAI). IEEE, 2012. http://dx.doi.org/10.1109/taai.2012.9.

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Ding, Hao, Jia Huang, Houwei Cao, and Yong Liu. "Improving Cold Music Recommendation through Hierarchical Audio Alignment." In 2016 IEEE International Symposium on Multimedia (ISM). IEEE, 2016. http://dx.doi.org/10.1109/ism.2016.0023.

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Chen, Chun-Ta, Jyh-Shing Roger Jang, and Wenshan Liou. "Improved score-performance alignment algorithms on polyphonic music." In ICASSP 2014 - 2014 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2014. http://dx.doi.org/10.1109/icassp.2014.6853820.

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Li, Wenxing, and Yu Zhao. "A novel subspace partition method for fourth-order statistics based MUSIC algorithm." In 2017 International Applied Computational Electromagnetics Society Symposium - Italy (ACES). IEEE, 2017. http://dx.doi.org/10.23919/ropaces.2017.7916024.

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Zhu, Yongwei, and Mohan S. Kankanhalli. "Melody Alignment and Similarity Metric for Content-Based Music Retrieval." In Electronic Imaging 2003, edited by Minerva M. Yeung, Rainer W. Lienhart, and Chung-Sheng Li. SPIE, 2003. http://dx.doi.org/10.1117/12.476253.

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Demirel, Emir, Sven Ahlback, and Simon Dixon. "Low Resource Audio-To-Lyrics Alignment from Polyphonic Music Recordings." In ICASSP 2021 - 2021 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2021. http://dx.doi.org/10.1109/icassp39728.2021.9414395.

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