Enhancing the separated singing voices from harmonic (pitched) and percussive musical instruments in songs recorded with a single microphone is the scope of this thesis. Separating singing voice has applications in music information retrieval systems. Various methods have been used to separate singing voice from harmonic and percussive instruments. Most of them use two stages of separation, one for separating harmonic instruments, and the other for separating percussive instruments. One of these Algorithms uses non-negative matrix factorization in each stage to separate harmonic and percussive instruments. Traditionally, in each stage, components' bases or gains are clustered based on discontinuity measures. The first contribution of this thesis was the use of local discontinuity of significant parts of these bases and gains, followed by splitting (rather than classifying) each component's basis or gain. This significantly refined the separated voice and music sources. Median filtering has also been used in two stages to separate singing voice. Typically, horizontal and vertical filters are used in each stage. The second contribution of this thesis was to enhance the separation quality using a combination of six additional diagonal median filters to accommodate singing voice frequency modulations. In addition, filters parameters that are suitable for all songs regardless of their sampling frequencies are sought. The third contribution of this research was the novel use of Hough Transform to detect traces of pitched instruments in the magnitude spectrogram of the separated voice. These traces are then removed completely using median filtering after successfully calculating their frequency bands. The new Hough Transform based approach was applied to a number of separation algorithms as a post processing step and it significantly improved the quality of the separated voice and music in all of them.

[pt] O foco desta pesquisa é a questão da oralidade confrontada com a escrita no ofício do ator-performer. Considerando o teatro como olhar-lugar, opera-se uma análise da associação teatro/literatura e sua distinção sob a perspectiva da e sua distinção sob a perspectiva da e sua distinção sob a perspectiva da oralidade e da vocalidade. Apresenta-se a noção de vocoralidade em articulação com conceitos como gagueira, voz-música e uso menor, propostos pelo filósofo Gilles Deleuze. Observam-se, ainda, procedimentos instigantes dos artistas Carmelo Bene e Demétrio Stratos. Num segundo momento, compõe-se uma escrita memorial do processo prático desenvolvido como parte integrante da pesquisa, que traçou uma possível metodologia para os operadores de cena empenhados no debate teórico. A performance teórico. A performance caracterizaempenhados no debate teórico. A performance caracteriza-se como trabalho de equipe, envolvendo os atores participantes do trabalho experimental, imaginado, roteirizado e dirigido pelo autor desta dissertação. / [en] The focus of this research is the issue of orality confronted with the writing in the craft of actor-performer. Considering the theater as a placee look, an analysis of the theater/literature association and its distinction under the perspective of orality and vocation is operated. The notion of vocorality is presented in conjunction with concepts such as stuttering, voice-music and minor use, proposed by the philosopher Gilles Deleuze. There are also a look on use, proposed by the philosopher Gilles Deleuze. There are also a look on the instigating procedures by the artists Carmelo Bene and Demetrio Stratos. In a second part, it is composed a writing memorial of the practical process developed second part, it is composed a writing memorial of the practical process developed as an integral part of the research, which outlined a possible methodology for the scene operators engaged in the theoretical debate. The performance is characterized as teamwork, involving the actors participating in the experimental work, imagined, scripted and directed by the author of this dissertation.