Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-08-31T18:49:43Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Renato.pdf: 2458758 bytes, checksum: b08fb4f41c821e5fd07c0022ea5dcaac (MD5) / Made available in DSpace on 2017-08-31T18:49:43Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Renato.pdf: 2458758 bytes, checksum: b08fb4f41c821e5fd07c0022ea5dcaac (MD5) Previous issue date: 2016-09-14 / Em aplicações de Preview de serviços de streaming de música, onde uma rápida impressão de um álbum desconhecido é proporcionada pela navegação de suas músicas, a inclusão do refrão no trecho de trinta segundos fornecido para cada música torna a aplicação muito mais precisa e eficaz. O refrão pode também funcionar como uma “miniatura” representativa da música, melhorando o desempenho e a precisão das consultas, se realizadas somente procurando pelos refrãos em vez de se procurar por músicas inteiras. Diante da importância de obter o trecho mais representativo de uma canção, o objetivo de um sistema de detecção de refrão é identificar este segmento ou, mais precisamente, os seus instantes inicial e final. Métodos do Estado da Arte buscam extrair features associadas a notas musicais e timbre como vetores Chroma e MFCC, e a partir destas identificar as repetições entre os segmentos da música, inclusive o refrão. Este tipo de abordagem torna o método pouco robusto no processamento de músicas onde notas musicais e variedade de timbres não são tão presentes, como em estilos musicais mais percussivos. Este trabalho propõe uma mudança de paradigma para a detecção de refrão, baseada na exploração do domínio do tempo em lugar do domínio da frequência, com o objetivo de obter um método mais competitivo no processamento de músicas percussivas. O método proposto elimina a etapa de segmentação, substitui as features harmônicas e timbrais pela envoltória do sinal e utiliza a função de correlação entre as envoltórias das partes da música como métrica de similaridade, tornando o método menos dependente de notas musicais e timbres. Os testes mediram o grau de degeneração das taxas de acertos do método proposto e de uma versão modificada usando vetores de Chroma sobre uma base harmônica e uma base percussiva. Os resultados indicam que a abordagem proposta sofre uma degeneração duas vezes menor que a versão modificada, comprovando a hipótese de que um método de detecção de refrão que explore o domínio do tempo é mais competitivo, ao processar músicas percussivas, que um método limitado à exploração do domínio da frequência. / In Preview applications of music streaming services, where a fast printing from an unknown album is provided by the navigation of your songs, including the chorus in thirty seconds excerpt provided for each song makes the application much more accurate and effective. The chorus can also function as a “miniature” representative of music, enhancing the performance and accuracy of search, if carried out only by looking choruses instead of searching for entire songs. Given the importance of getting the most representative excerpt of a song, the goal of a chorus detection system is to identify this segment, or more precisely, its beginning and its end. State of the art methods seek to extract features associated with musical notes and timbre, like Chroma and MFCC vectors and identify from these repetitions between segments of music, including the chorus. This approach type makes method little robust in music where musical notes and variety of timbres are not as present, as in percussive music for example. This paper proposes a paradigm shift for the chorus detection, based on the exploitation of the time domain instead of the frequency domain, in order to obtain a more competitive method in the processing of percussive music. The proposed method eliminates the segmentation, replaces the harmonic and timbral features with the envelope of the signal, and uses the correlation function between the envelope of the music segments as a metric of similarity, to make it less dependent on musical notes and timbre. The tests measured the degree of degeneration of hit rates of the proposed method and of a modified version using Chroma vectors on a harmonic basis and a percussive basis. The results indicate that the proposed approach have a degeneration two times lower than the modified version, proving the hypothesis that a chorus detection method that exploits the time domain is more competitive when processing percussive songs than a method limited to the frequency domain exploitation.

No description available.

Propõe-se a análise representativa da informação musical em ambientes digitais direcionados à música, tendo como base o relacionamento entre Ciência da Informação e Música. A pesquisa justifica-se pela intensidade das manifestações musicais, ou seja, o número significativo de produção e acesso à musica no cenário contemporâneo, fato que justifica a necessidade do tratamento adequado dos diferentes tipos documentais produzidos. Este estudo tem por objetivo identificar as especificidades de informação musical e de sua organização e recuperação, bem como analisar a representação do elemento incipit musical aplicado ao MARC21. Especificamente identificar a tipologia de documentos musicais, analisar os princípios usados para organização da informação musical em repertórios da área, identificar recursos informacionais direcionados à área em questão e analisar a aplicação do elemento incipit ao MARC como recurso de recuperação em ambientes digitais e Sistemas. A pesquisa está pautada no estudo exploratório dos recursos informacionais da música, no repertorio e tipos documentais de representação da música, considerando o tratamento temático contextual e descritivo da informação. Consiste no estudo exploratório documental utilizando o método qualitativo, que configurar-se á como estrutura para analisar os recursos informacionais aplicados à música como elementos de representação e recuperação da informação musical e sua aplicação. Realizou-se um levantamento de fontes musicais que utilizam o incipit como recurso informacional e a possível sinergia ao Répertoire International des Sources Musicales (RISM), seguido da aplicação e análise de elemento de representação musical aplicado ao formato biblioteconômico automatizado. Os resultados demonstram a pesquisa como satisfatória, pois em resposta aos objetivos mostrou-se evidente a possibilidade de o incipit constitutivo da música ser representado e recuperado em repositórios digitais e sistemas automatizados para organização de recuperação da informação. Diante da amplitude do assunto pesquisado considera-se que a área musical consiste em um vasto campo a ser explorado, e necessita de atenção especial do profissional da informação quanto à especificidade da área, apoiado por especialista da área musical, fato justificado pelas necessidades técnicas e especificas apontadas neste estudo. / It proposes the representative analysis of musical information in digital environments directed to music, based on the relationship of Information Science and Music. The research is justified by the intensity of the musical manifestations, that is, the significant number of production and access to music in the contemporary scenario, a fact that justifies the need for appropriate treatment of the different documentary types produced. This study aims to identify the specificities of musical information and its organization and retrieval, as well as to analyze the representation of the musical incipit element applied to MARC21. Specifically identify the typology of musical documents, analyze the principles used to organize the musical information in repertoires of the area, identify information resources directed to the area in question and analyze the application of the element incipit to the MARC as a resource of retrieval in digital environments and Systems. The research was based in the exploratory study of the informational resources of music, in the repertory and documentary types of music representation, considering the thematic and contextual and descriptive treatment of the information. It consists of an exploratory documentary study using the qualitative method, which will be configured as a structure to analyze the informational resources applied to music as elements of representation and retrieval of musical information and its application. A study was carried out on musical instruments using incipit as an informational resource and the possible synergy to Répertoire International des Sources Musicales (RISM), followed by the application and analysis of musical representation element applied to the automatized automated bibliographic format. The results demonstrate the research as satisfactory, because in response to the objectives it was evident the possibility of the constitutive incipit of music be represented and retrieved in digital repositories and automated systems for organization of information retrieval. Considering the breadth of the studied subject, it is considered that the musical area consists of a vast field to be explored, and requires special attention from the information professional regarding the specificity of the area, supported by a specialist in the musical area, fact that is justified by the technical and specific needs pointed out in this study.

Propõe-se a análise representativa da informação musical em ambientes digitais direcionados à música, tendo como base o relacionamento entre Ciência da Informação e Música. A pesquisa justifica-se pela intensidade das manifestações musicais, ou seja, o número significativo de produção e acesso à musica no cenário contemporâneo, fato que justifica a necessidade do tratamento adequado dos diferentes tipos documentais produzidos. Este estudo tem por objetivo identificar as especificidades de informação musical e de sua organização e recuperação, bem como analisar a representação do elemento incipit musical aplicado ao MARC21. Especificamente identificar a tipologia de documentos musicais, analisar os princípios usados para organização da informação musical em repertórios da área, identificar recursos informacionais direcionados à área em questão e analisar a aplicação do elemento incipit ao MARC como recurso de recuperação em ambientes digitais e Sistemas. A pesquisa está pautada no estudo exploratório dos recursos informacionais da música, no repertorio e tipos documentais de representação da música, considerando o tratamento temático contextual e descritivo da informação. Consiste no estudo exploratório documental utilizando o método qualitativo, que configurar-se á como estrutura para analisar os recursos informacionais aplicados à música como elementos de representação e recuperação da informação musical e sua aplicação. Realizou-se um levantamento de fontes musicais que utilizam o incipit como recurso informacional e a possível sinergia ao Répertoire International des Sources Musicales (RISM), seguido da aplicação e análise de elemento de representação musical aplicado ao formato biblioteconômico automatizado. Os resultados demonstram a pesquisa como satisfatória, pois em resposta aos objetivos mostrou-se evidente a possibilidade de o incipit constitutivo da música ser representado e recuperado em repositórios digitais e sistemas automatizados para organização de recuperação da informação. Diante da amplitude do assunto pesquisado considera-se que a área musical consiste em um vasto campo a ser explorado, e necessita de atenção especial do profissional da informação quanto à especificidade da área, apoiado por especialista da área musical, fato justificado pelas necessidades técnicas e especificas apontadas neste estudo. / It proposes the representative analysis of musical information in digital environments directed to music, based on the relationship of Information Science and Music. The research is justified by the intensity of the musical manifestations, that is, the significant number of production and access to music in the contemporary scenario, a fact that justifies the need for appropriate treatment of the different documentary types produced. This study aims to identify the specificities of musical information and its organization and retrieval, as well as to analyze the representation of the musical incipit element applied to MARC21. Specifically identify the typology of musical documents, analyze the principles used to organize the musical information in repertoires of the area, identify information resources directed to the area in question and analyze the application of the element incipit to the MARC as a resource of retrieval in digital environments and Systems. The research was based in the exploratory study of the informational resources of music, in the repertory and documentary types of music representation, considering the thematic and contextual and descriptive treatment of the information. It consists of an exploratory documentary study using the qualitative method, which will be configured as a structure to analyze the informational resources applied to music as elements of representation and retrieval of musical information and its application. A study was carried out on musical instruments using incipit as an informational resource and the possible synergy to Répertoire International des Sources Musicales (RISM), followed by the application and analysis of musical representation element applied to the automatized automated bibliographic format. The results demonstrate the research as satisfactory, because in response to the objectives it was evident the possibility of the constitutive incipit of music be represented and retrieved in digital repositories and automated systems for organization of information retrieval. Considering the breadth of the studied subject, it is considered that the musical area consists of a vast field to be explored, and requires special attention from the information professional regarding the specificity of the area, supported by a specialist in the musical area, fact that is justified by the technical and specific needs pointed out in this study.

Music is perceived and described very subjectively by every individual. Nowadays, people often get lost in their steadily growing, multi-placed, digital music collection. Existing music player and management applications get in trouble when dealing with poor metadata that is predominant in personal music collections. There are several music information services available that assist users by providing tools for precisely organising their music collection, or for presenting them new insights into their own music library and listening habits. However, it is still not the case that music consumers can seamlessly interact with all these auxiliary services directly from the place where they access their music individually. To profit from the manifold music and music-related knowledge that is or can be available via various information services, this information has to be gathered up, semantically federated, and integrated into a uniform knowledge base that can personalised represent this data in an appropriate visualisation to the users. This personalised semantic aggregation of music metadata from several sources is the gist of this thesis. The outlined solution particularly concentrates on users’ needs regarding music collection management which can strongly alternate between single human beings. The author’s proposal, the personal music knowledge base (PMKB), consists of a client-server architecture with uniform communication endpoints and an ontological knowledge representation model format that is able to represent the versatile information of its use cases. The PMKB concept is appropriate to cover the complete information flow life cycle, including the processes of user account initialisation, information service choice, individual information extraction, and proactive update notification. The PMKB implementation makes use of SemanticWeb technologies. Particularly the knowledge representation part of the PMKB vision is explained in this work. Several new Semantic Web ontologies are defined or existing ones are massively modified to meet the requirements of a personalised semantic federation of music and music-related data for managing personal music collections. The outcome is, amongst others, • a new vocabulary for describing the play back domain, • another one for representing information service categorisations and quality ratings, and • one that unites the beneficial parts of the existing advanced user modelling ontologies. The introduced vocabularies can be perfectly utilised in conjunction with the existing Music Ontology framework. Some RDFizers that also make use of the outlined ontologies in their mapping definitions, illustrate the fitness in practise of these specifications. A social evaluation method is applied to carry out an examination dealing with the reutilisation, application and feedback of the vocabularies that are explained in this work. This analysis shows that it is a good practise to properly publish Semantic Web ontologies with the help of some Linked Data principles and further basic SEO techniques to easily reach the searching audience, to avoid duplicates of such KR specifications, and, last but not least, to directly establish a \"shared understanding\". Due to their project-independence, the proposed vocabularies can be deployed in every knowledge representation model that needs their knowledge representation capacities. This thesis added its value to make the vision of a personal music knowledge base come true.:1 Introduction and Background 11 1.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 1.2 Personal Music Collection Use Cases . . . . . . . . . . . . . . . . . . . . . . . . . 14 1.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 2 Music Information Management 17 2.1 Knowledge Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 2.1.1 Knowledge Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 2.1.1.1 Knowledge Representation Models . . . . . . . . . . . . . . . . . 18 2.1.1.2 Semantic Graphs . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 2.1.1.3 Ontologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.1.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.2 Knowledge Management Systems . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.2.1 Information Services . . . . . . . . . . . . . . . . . . . . . . . . . 19 2.1.2.2 Ontology-based Distributed Knowledge Management Systems . . 20 2.1.2.3 Knowledge Management System Design Guideline . . . . . . . . 21 2.1.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 2.2 Semantic Web Technologies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 2.2.1 The Evolution of the World Wide Web . . . . . . . . . . . . . . . . . . . . . 22 Personal Music Knowledge Base Contents 2.2.1.1 The Hypertext Web . . . . . . . . . . . . . . . . . . . . . . . . . . 23 2.2.1.2 The Normative Principles of Web Architecture . . . . . . . . . . . 23 2.2.1.3 The Semantic Web . . . . . . . . . . . . . . . . . . . . . . . . . . 24 2.2.2 Common Semantic Web Knowledge Representation Languages . . . . . . 25 2.2.3 Resource Description Levels and their Relations . . . . . . . . . . . . . . . 26 2.2.4 Semantic Web Knowledge Representation Models . . . . . . . . . . . . . . 29 2.2.4.1 Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 2.2.4.2 Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 2.2.4.3 Context Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 2.2.4.4 Storing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 2.2.4.5 Providing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 2.2.4.6 Consuming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 2.2.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 2.3 Music Content and Context Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 2.3.1 Categories of Musical Characteristics . . . . . . . . . . . . . . . . . . . . . 37 2.3.2 Music Metadata Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 2.3.3 Music Metadata Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 2.3.3.1 Audio Signal Carrier Indexing Services . . . . . . . . . . . . . . . . 41 2.3.3.2 Music Recommendation and Discovery Services . . . . . . . . . . 42 2.3.3.3 Music Content and Context Analysis Services . . . . . . . . . . . 43 2.3.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 2.4 Personalisation and Environmental Context . . . . . . . . . . . . . . . . . . . . . . 44 2.4.1 User Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 2.4.2 Context Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 2.4.3 Stereotype Modelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 2.5 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 3 The Personal Music Knowledge Base 48 3.1 Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 3.1.1 Knowledge Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 3.1.2 Knowledge Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 3.2 Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 3.3 Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3.3.1 User Account Initialisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 3.3.2 Individual Information Extraction . . . . . . . . . . . . . . . . . . . . . . . . 53 3.3.3 Information Service Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 3.3.4 Proactive Update Notification . . . . . . . . . . . . . . . . . . . . . . . . . . 55 3.3.5 Information Exploration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 3.3.6 Personal Associations and Context . . . . . . . . . . . . . . . . . . . . . . . 56 3.4 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 4 A Personal Music Knowledge Base 57 4.1 Knowledge Representation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 4.1.1 The Info Service Ontology . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 4.1.2 The Play Back Ontology and related Ontologies . . . . . . . . . . . . . . . . 61 4.1.2.1 The Ordered List Ontology . . . . . . . . . . . . . . . . . . . . . . 61 4.1.2.2 The Counter Ontology . . . . . . . . . . . . . . . . . . . . . . . . . 62 4.1.2.3 The Association Ontology . . . . . . . . . . . . . . . . . . . . . . . 64 4.1.2.4 The Play Back Ontology . . . . . . . . . . . . . . . . . . . . . . . . 65 4.1.3 The Recommendation Ontology . . . . . . . . . . . . . . . . . . . . . . . . 69 4.1.4 The Cognitive Characteristics Ontology and related Vocabularies . . . . . . 72 4.1.4.1 The Weighting Ontology . . . . . . . . . . . . . . . . . . . . . . . 72 4.1.4.2 The Cognitive Characteristics Ontology . . . . . . . . . . . . . . . 73 4.1.4.3 The Property Reification Vocabulary . . . . . . . . . . . . . . . . . 78 4.1.5 The Media Types Taxonomy . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 4.1.6 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4.2 Knowledge Management System . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 4.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 5 Personal Music Knowledge Base in Practice 87 5.1 Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 5.1.1 AudioScrobbler RDF Service . . . . . . . . . . . . . . . . . . . . . . . . . . 87 5.1.2 PMKB ID3 Tag Extractor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 5.2 Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 5.2.1 Reutilisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 5.2.2 Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 5.2.3 Reviews and Mentions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 5.2.4 Indexing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 5.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 6 Conclusion and Future Work 93 6.1 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 6.2 Future Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Orientador: Jônatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:47:37Z (GMT). No. of bitstreams: 1 Monteiro_AdrianoClaro_M.pdf: 4807040 bytes, checksum: 3fdb8b9f91d66c6551c1e540e753d2ef (MD5) Previous issue date: 2012 / Resumo: Este trabalho apresenta um estudo sobre o computador como instrumento de performance musical. A partir deste estudo desenvolvemos processos de criação musical com base na representação algorítmica e no código computacional. Os dois principais recursos técnicos que utilizamos em nossos trabalhos foram: uma técnica de síntese sonora baseada na geração de forma de ondas por equações não-lineares; e métodos de recuperação de informação musical para prover análise e memória em tempo real dos parâmetros musicais de uma performance. O corpo da dissertação possui a seguinte estrutura: primeiramente, apresentamos as características dos instrumentos musicais digitais e as implicações de seu emprego na prática musical. Em seguida fazemos uma revisão do estado da arte da área de recuperação da informação musical e detalhamos os métodos específicos que utilizamos nesse trabalho, que incluem: a) a extração de parâmetros musicais de sinais de áudio monofônicos capturados de instrumentos acústicos; b) análises do comportamento dinâmico de medidas extraídas do sinal de áudio, através de mapas de Poincaré. Posteriormente, expomos o método de e síntese por equações não-lineares. E por fim, apresentamos os processos de criação musical que desenvolvemos com base nos estudos realizados / Abstract: This work presents a study about the computer as an instrument for musical performance. Based on this study we developed processes of music creation using the algorithmic representation and the computer code. The two main technical resources we applied in our works were: a sound synthesis method based on the generation of waveforms by non-linear equations; and methods for music information retrieval to provide a computer memory of the music parameters in real time. The dissertation has the following structure: first, we show the characteristics of the digital music instruments and the consequences of its using in the musical practice. Second, we review the state of the art of music information retrieval area and we detail the specific methods we used in our works, which include: a) the extraction of music parameters from monophonic audio signals captured from acustic instruments; b) analysis of the dynamic behavior of measurements extracted from audio signal, by means of Poincaré maps. Next, we present the sound synthesis method by non-linear equations. Finally, we show the musical creative process we developed based on our studies / Mestrado / Processos Criativos / Mestre em Música