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Journal articles on the topic 'Music to partition alignment'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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 tra

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9

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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10

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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Tsai, Y. T., Y. P. Huang, C. T. Yu, and C. L. Lu. "MuSiC: a tool for multiple sequence alignment with constraints." Bioinformatics 20, no. 14 (2004): 2309–11. http://dx.doi.org/10.1093/bioinformatics/bth220.

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12

LOCKHART, ELLEN. "ALIGNMENT, ABSORPTION, ANIMATION: PANTOMIME BALLET IN THE LOMBARD ILLUMINISMO." Eighteenth Century Music 8, no. 2 (2011): 239–59. http://dx.doi.org/10.1017/s1478570611000066.

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ABSTRACTThis article investigates the theme of statuary animation within pantomime and language reform, particularly in Milan between the 1760s and the 1790s. Its focal point is a little-known work created by Florentine choreographer Gasparo Angiolini for the new Teatro alla Scala in 1782: his didactic ‘philosophical ballet’ La vendetta spiritosa, based on the Traité des sensations by Étienne Bonnot de Condillac (in Venice the work was given as La vendetta ingegnosa o La statua di Condilliac [sic]). During the last decades of his career, informed by French linguistic theory and by Milanese wri

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13

Seibert, Andrei Yur'evich. "The livre partition phenomenon in J.-G. Kastner’s oeuvre." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 9–19. http://dx.doi.org/10.7256/2453-613x.2020.6.34651.

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In the 19th century, after a two-centuries oblivion, the interest in a medieval genre &ldquo;danse macabre&rdquo; reappeared. Dances of Death were embodied not only in pictorial art, literature and music, but also attracted the attention of scholars. The research subject of this article is one of such scientific works - &ldquo;Les Danses des Morts&rdquo; by J.-G. Kastner. Its uniqueness consists in the combination of a theoretical research and practical embodiment of its results in a piece of music. The genre of the tractate is defined by scholars as &ldquo;livre partition&

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14

Hahn, Peter L. "Alignment by Coincidence: Israel, the United States, and the Partition of Jerusalem, 1949–1953." International History Review 21, no. 3 (1999): 665–89. http://dx.doi.org/10.1080/07075332.1999.9640872.

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15

Bemman, Brian, and David Meredith. "Generating Milton Babbitt’s All-Partition Arrays." Journal of New Music Research 45, no. 2 (2016): 184–204. http://dx.doi.org/10.1080/09298215.2016.1172646.

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16

Moens, Bart, and Marc Leman. "Alignment strategies for the entrainment of music and movement rhythms." Annals of the New York Academy of Sciences 1337, no. 1 (2015): 86–93. http://dx.doi.org/10.1111/nyas.12647.

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17

Adams, Norman H., and Gregory H. Wakefield. "Representation and alignment of sung queries for music information retrieval." Journal of the Acoustical Society of America 118, no. 3 (2005): 2032. http://dx.doi.org/10.1121/1.4785798.

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18

Reese, Alan. "Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski." Music Theory Spectrum 42, no. 2 (2020): 305–25. http://dx.doi.org/10.1093/mts/mtaa007.

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Abstract A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions

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19

Liu, Y., B. Schmidt, and D. L. Maskell. "MSAProbs: multiple sequence alignment based on pair hidden Markov models and partition function posterior probabilities." Bioinformatics 26, no. 16 (2010): 1958–64. http://dx.doi.org/10.1093/bioinformatics/btq338.

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20

Yu, Yi, Abhishek Srivastava, and Simon Canales. "Conditional LSTM-GAN for Melody Generation from Lyrics." ACM Transactions on Multimedia Computing, Communications, and Applications 17, no. 1 (2021): 1–20. http://dx.doi.org/10.1145/3424116.

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Melody generation from lyrics has been a challenging research issue in the field of artificial intelligence and music, which enables us to learn and discover latent relationships between interesting lyrics and accompanying melodies. Unfortunately, the limited availability of a paired lyrics–melody dataset with alignment information has hindered the research progress. To address this problem, we create a large dataset consisting of 12,197 MIDI songs each with paired lyrics and melody alignment through leveraging different music sources where alignment relationship between syllables and music at

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21

Roller, H. Stanley. "Isolating music and mechanical equipment sound sources with gypsum board partition systems." Journal of the Acoustical Society of America 78, S1 (1985): S10. http://dx.doi.org/10.1121/1.2022641.

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22

Thayasivam, U., and P. Doshi. "Speeding Up Iterative Ontology Alignment using Block-Coordinate Descent." Journal of Artificial Intelligence Research 50 (August 25, 2014): 805–45. http://dx.doi.org/10.1613/jair.4366.

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In domains such as biomedicine, ontologies are prominently utilized for annotating data. Consequently, aligning ontologies facilitates integrating data. Several algorithms exist for automatically aligning ontologies with diverse levels of performance. As alignment applications evolve and exhibit online run time constraints, performing the alignment in a reasonable amount of time without compromising the quality of the alignment is a crucial challenge. A large class of alignment algorithms is iterative and often consumes more time than others in delivering solutions of high quality. We present

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23

Weigl, David M., David Lewis, Tim Crawford, Ian Knopke, and Kevin R. Page. "On providing semantic alignment and unified access to music library metadata." International Journal on Digital Libraries 20, no. 1 (2017): 25–47. http://dx.doi.org/10.1007/s00799-017-0223-9.

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24

Maddage, Namunu C., Khe Chai Sim, and Haizhou Li. "Word level automatic alignment of music and lyrics using vocal synthesis." ACM Transactions on Multimedia Computing, Communications, and Applications 6, no. 3 (2010): 1–16. http://dx.doi.org/10.1145/1823746.1823753.

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25

Wu, Ze-ying, Zhong-da Zeng, Zi-dan Xiao, et al. "Semiautomated Alignment of High-Throughput Metabolite Profiles with Chemometric Tools." Journal of Analytical Methods in Chemistry 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/9402045.

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The rapid increase in the use of metabolite profiling/fingerprinting techniques to resolve complicated issues in metabolomics has stimulated demand for data processing techniques, such as alignment, to extract detailed information. In this study, a new and automated method was developed to correct the retention time shift of high-dimensional and high-throughput data sets. Information from the target chromatographic profiles was used to determine the standard profile as a reference for alignment. A novel, piecewise data partition strategy was applied for the determination of the target componen

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26

Zhou, Hao. "Study on Improvement of MUSIC Estimation Method." Applied Mechanics and Materials 543-547 (March 2014): 2750–54. http://dx.doi.org/10.4028/www.scientific.net/amm.543-547.2750.

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MUSIC algorithm is a subspace decomposition method whose high resolution capability and other aspects of its performance have been investigated widely. Application of MUSIC algorithm to DOA (direction-of-arrival) estimation is of massive computation and requires that the number of signals must be known to partition the space into signal subspace and noise subspace. Moreover, the algorithm does not make use of information on the intensity of signals. This paper deeply investigates the theory of MUSIC algorithm and proposes a modification method which overcomes the disadvantages above. Finally,

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27

Silliman-French, Lisa, Ron French, Claudine Sherrill, and Barbara Gench. "Auditory Feedback and Time-on-Task of Postural Alignment of Individuals with Profound Mental Retardation." Adapted Physical Activity Quarterly 15, no. 1 (1998): 51–63. http://dx.doi.org/10.1123/apaq.15.1.51.

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The purpose was to determine the effectiveness of three feedback conditions (aversive tone, preferred music, and no feedback) on time-on-task of correct upper body postural alignment in adults with profound mental retardation (PMR). Participants were seven adults (3 males and 4 females), ages 25 to 34. A randomized multiple-treatment design with generalization and follow-up phases was used. Participants received three randomly assigned conditions each day for a total of 45 sessions over 15 days. Five of the participants increased time-on-task in response to preferred music, whereas two partici

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28

Hennessy, Jeffrey J. "Partition lattices in Milton Babbitt'sWoodwind Quartet(1953)." Journal of Mathematics and Music 1, no. 3 (2007): 139–55. http://dx.doi.org/10.1080/17459730701733612.

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29

Upham, Finn, and Stephen McAdams. "Activity Analysis and Coordination in Continuous Responses to Music." Music Perception 35, no. 3 (2018): 253–94. http://dx.doi.org/10.1525/mp.2018.35.3.253.

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Music affects us physically and emotionally. Determining when changes in these reactions tend to manifest themselves can help us understand how and why. Activity Analysis quantifies alignment of response events across listeners and listenings through continuous responses to musical works. Its coordination tests allow us to determine if there is enough inter-response coherence to merit linking their summary time series to the musical event structure and to identify moments of exceptional alignment in response events. In this paper, we apply Activity Analysis to continuous ratings from several m

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30

Song, Lin-Ping, Leonard R. Pasion, and Douglas W. Oldenburg. "Space-time MUSIC imaging of EMI sensing data and a subspace partition study." Journal of Electromagnetic Waves and Applications 31, no. 15 (2017): 1520–40. http://dx.doi.org/10.1080/09205071.2017.1353925.

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31

Karnes, Kevin C. "Inventing Eastern Europe in the Ear of the Enlightenment." Journal of the American Musicological Society 71, no. 1 (2018): 75–108. http://dx.doi.org/10.1525/jams.2018.71.1.75.

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In his landmark study Inventing Eastern Europe (1994) the historian Larry Wolff documented the first attempts to partition the continent imaginatively into western and eastern domains. This partitioning, he argues, was undertaken by writers from the hubs of the European Enlightenment, who traveled into Imperial Russia and wrote about their experiences abroad. In their accounts of travel these writers “intellectually combin[ed]” easterly geographies and peoples “into a coherent whole” and compared that whole with westerly spaces, thereby “establishing the developmental division of the continent

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32

Cont, Arshia. "A Coupled Duration-Focused Architecture for Real-Time Music-to-Score Alignment." IEEE Transactions on Pattern Analysis and Machine Intelligence 32, no. 6 (2010): 974–87. http://dx.doi.org/10.1109/tpami.2009.106.

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33

Chung, Y. S., W. H. Lee, C. Y. Tang, and C. L. Lu. "RE-MuSiC: a tool for multiple sequence alignment with regular expression constraints." Nucleic Acids Research 35, Web Server (2007): W639—W644. http://dx.doi.org/10.1093/nar/gkm275.

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34

Stevens, Alison. "Music in the Body." Journal of Music Theory 65, no. 1 (2021): 81–106. http://dx.doi.org/10.1215/00222909-9124738.

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Abstract Dance in general and the contredanse in particular have long been recognized as important to eighteenth-century European music. But music theorists have tended to understate the contredanse's unique contribution, when they haven't overlooked it entirely: dances are more often treated as musical styles or topics than as movement patterns, and the minuet, with more explicit connections to art music, has received more attention than the contredanse. This article analyzes the choreography as well as the music of eighteenth-century contredanses to show how this dance supported the developm

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35

Einarson, Kathleen M., and Laurel J. Trainor. "Hearing the Beat." Music Perception 34, no. 1 (2016): 56–70. http://dx.doi.org/10.1525/mp.2016.34.1.56.

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Adults can extract the underlying beat from music, and entrain their movements with that beat. Although infants and children are poor at synchronizing their movements to auditory stimuli, recent findings suggest they are perceptually sensitive to the beat. We examined five-year-old children’s perceptual sensitivity to musical beat alignment (adapting the adult task of Iversen & Patel, 2008). We also examined whether sensitivity is affected by metric complexity, and whether perceptual sensitivity correlates with cognitive skills. On each trial of the complex Beat Alignment Test (cBAT) child

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36

Keeney, Hillary, and Bradford Keeney. "Tuning your body instrument: The alignment of tone and movement." Dance, Movement & Spiritualities 7, no. 1-2 (2020): 17–26. http://dx.doi.org/10.1386/dmas_00013_1.

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In this article, we outline a movement practice we devised called ‘tonal alignment’. It invites you to regard your body as a musical instrument that produces both a mechanical vibration (movement) and an acoustic vibration (sound). The basic practice involves moving different parts of your body to various musical tones. These tones can be made with your own voice, an instrument, or you can play recorded music. Synchronizing body movement with acoustic sound is what tunes the body instrument. Body tuning, now regarded as comparable with tuning a musical instrument, can be done before any activi

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37

Wen, Jie, Zheng Zhang, Yong Xu, Bob Zhang, Lunke Fei, and Hong Liu. "Unified Embedding Alignment with Missing Views Inferring for Incomplete Multi-View Clustering." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 5393–400. http://dx.doi.org/10.1609/aaai.v33i01.33015393.

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Multi-view clustering aims to partition data collected from diverse sources based on the assumption that all views are complete. However, such prior assumption is hardly satisfied in many real-world applications, resulting in the incomplete multi-view learning problem. The existing attempts on this problem still have the following limitations: 1) the underlying semantic information of the missing views is commonly ignored; 2) The local structure of data is not well explored; 3) The importance of different views is not effectively evaluated. To address these issues, this paper proposes a Unifie

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38

Miura, Ryosuke, Yasunari Ando, Yasuhisa Hotta, Yoshiki Nagatani, and Akihiko Tsuda. "Acoustic Alignment of a Supramolecular Nanofiber in Harmony with the Sound of Music." ChemPlusChem 79, no. 4 (2014): 516–23. http://dx.doi.org/10.1002/cplu.201300400.

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39

Miura, Ryosuke, Yasunari Ando, Yasuhisa Hotta, Yoshiki Nagatani, and Akihiko Tsuda. "Acoustic Alignment of a Supramolecular Nanofiber in Harmony with the Sound of Music." ChemPlusChem 79, no. 4 (2014): 472. http://dx.doi.org/10.1002/cplu.201400008.

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40

Keshet, Joseph, Shai Shalev-Shwartz, Yoram Singer, and Dan Chazan. "A Large Margin Algorithm for Speech-to-Phoneme and Music-to-Score Alignment." IEEE Transactions on Audio, Speech, and Language Processing 15, no. 8 (2007): 2373–82. http://dx.doi.org/10.1109/tasl.2007.903928.

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41

Einarson, Kathleen M., and Laurel J. Trainor. "The Effect of Visual Information on Young Children’s Perceptual Sensitivity to Musical Beat Alignment." Timing & Time Perception 3, no. 1-2 (2015): 88–101. http://dx.doi.org/10.1163/22134468-03002039.

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Recent work examined five-year-old children’s perceptual sensitivity to musical beat alignment. In this work, children watched pairs of videos of puppets drumming to music with simple or complex metre, where one puppet’s drumming sounds (and movements) were synchronized with the beat of the music and the other drummed with incorrect tempo or phase. The videos were used to maintain children’s interest in the task. Five-year-olds were better able to detect beat misalignments in simple than complex metre music. However, adults can perform poorly when attempting to detect misalignment of sound and

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42

Parkinson, Tom. "‘Indiestanbul’: counter-hegemonic music and third republicanism in Turkey." Popular Music 37, no. 1 (2017): 40–62. http://dx.doi.org/10.1017/s0261143017000563.

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AbstractThis article contributes to the growing research base in Turkish popular music studies with a focus on indie music from Istanbul. It situates this music within Turkey's contemporary social, cultural and political landscapes, and in relation to the country's historical cultural narrative. Istanbul indie musicians’ responses to the 2013 Gezi protests suggest that indie's counter-hegemonic aesthetics are being explored and engaged with in alignment with ‘Third Republicanism’, an emerging vision for Turkey that holds liberalism and human rights as its core ideals where the ‘First’ and ‘Sec

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43

Liu, Yan Ju, Yong De Zhang, and Ji Xiong Jiang. "A Novel Surface Reconstruction Framework from Point Clouds without Normal." Applied Mechanics and Materials 151 (January 2012): 711–15. http://dx.doi.org/10.4028/www.scientific.net/amm.151.711.

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In this paper, we proposed a novel surface reconstruction framework from point clouds without normal. The proposed method involves three processes: partition of unit, which divide the point clouds into sub-domains using octree structure, generation of the sub-surface, which fit the sub-surface by implicit function in each sub-domain, the normal alignment, which compute normal of sub-surface and inference the global normal of surface by iteratively propagate algorithm. During the last process, sub-surfaces are blended to form entire surface reconstruction. The method is suitable to reconstruct

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44

Webb, Michael. "Music analysis down the (You) tube? Exploring the potential of cross-media listening for the music classroom." British Journal of Music Education 24, no. 2 (2007): 147–64. http://dx.doi.org/10.1017/s0265051707007401.

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School students' immersion in a rich entertainment media environment has implications for classroom listening. Increasing interaction among media, design, games, communications and arts fields has led to a growing trend in the creative alignment of music and moving image. Video sharing sites such as YouTube are assisting in the proliferation and dissemination of such material, and are a source for the stimulation of creative and artistic activity from which music education can benefit. In this article I explore some of the possibilities of cross-media listening, which considers music from (var

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45

Gentil-Nunes, Pauxy. "Reading Textural Functions, Instrumental Techniques, and Space Through Partition Complexes." MusMat: Brazilian Journal of Music and Mathematics IV, no. 2 (2020): 80–97. http://dx.doi.org/10.46926/musmat.2020v4n2.80-97.

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Partitional complexes are sets of discrete textural configurations (called shortly of partitions in Partition Analysis) that successfully interact to construct a global textural structure. This textural mode is called the Textural Proposal of a piece, where referential partitions (those that represent the main features of textural configurations in the excerpt) stand out. This conceptual environment, developed in musical texture formalization through observation and musical repertoire analysis, is now applied to musical practice. In the present work, we highlight three of these situations. The

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46

Alfaro-Contreras, María, and Jose J. Valero-Mas. "Exploiting the Two-Dimensional Nature of Agnostic Music Notation for Neural Optical Music Recognition." Applied Sciences 11, no. 8 (2021): 3621. http://dx.doi.org/10.3390/app11083621.

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State-of-the-art Optical Music Recognition (OMR) techniques follow an end-to-end or holistic approach, i.e., a sole stage for completely processing a single-staff section image and for retrieving the symbols that appear therein. Such recognition systems are characterized by not requiring an exact alignment between each staff and their corresponding labels, hence facilitating the creation and retrieval of labeled corpora. Most commonly, these approaches consider an agnostic music representation, which characterizes music symbols by their shape and height (vertical position in the staff). Howeve

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47

van Dyck, Edith, Joren Six, Esin Soyer, Marlies Denys, Ilka Bardijn, and Marc Leman. "Adopting a music-to-heart rate alignment strategy to measure the impact of music and its tempo on human heart rate." Musicae Scientiae 21, no. 4 (2017): 390–404. http://dx.doi.org/10.1177/1029864917700706.

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Music is frequently used as a means of relaxation. Conversely, it is used as a means of arousal in sports and exercise contexts. Previous research suggests that tempo is one of the most significant determinants of music-related arousal and relaxation effects. Here we investigate the specific effect of music tempo, but also more generally, the influence of music on human heart rate. We took the pulses of 32 participants in silence, and then we played them non-vocal, ambient music at a tempo corresponding to their heart rates. Finally, we played the same music again, either with the tempo increa

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48

Bellman, Jonathan D. "Trois fugues de Luigi Cherubini: mises en partition de piano by Frédéric Chopin." Notes 75, no. 4 (2019): 705–6. http://dx.doi.org/10.1353/not.2019.0054.

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49

Sulem, Aviel, Ehud Bodner, and Noam Amir. "Perception-Based Classification of Expressive Musical Terms." Music Perception 37, no. 2 (2019): 147–64. http://dx.doi.org/10.1525/mp.2019.37.2.147.

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Expressive Musical Terms (EMTs) are commonly used by composers as verbal descriptions of musical expressiveness and characters that performers are requested to convey. We suggest a classification of 55 of these terms, based on the perception of professional music performers who were asked to: 1) organize the considered EMTs in a two-dimensional plane in such a way that proximity reflects similarity; and 2) rate these EMTs according to valence, arousal, extraversion, and neuroticism, using 7-level Likert scales. Using a minimization procedure, we found that a satisfactory partition requires the

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50

Svec, Christina L. "Describing Elementary Certification Methods Across the Elementary Music Career Cycle." Update: Applications of Research in Music Education 35, no. 3 (2016): 55–61. http://dx.doi.org/10.1177/8755123316649014.

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The purpose of the study was to describe elementary music method choice and certification method choice overall and across the elementary music career cycle. Participants ( N = 254) were categorized as Level I or Elementary Division in a southwestern music education association database. The questionnaire included 25 four-point Likert-type items that measured music curriculum alignment to given methods and agreement with statements concerning respondent school district curriculum, personal method practices, and motives concerning the pursuit of one or more method certifications. Gathered infor

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