The purpose of this study is to examine the effectiveness of humming as a viable musicking activity based on measures of children's pitch acuity. Students are kindergarteners from a public elementary school in northern Delaware. Based on each participant’s homeroom assignment, these students will be placed in one of two groups during music instruction: (a) singing instruction only and (b) singing and humming instruction. As all kindergarteners will be participating in music instruction, no data will be collected for students who opted out of the study. Students were pretested in their humming and singing accuracy (pitch reproduction acuity), followed by four weeks of instruction. The posttest documented students' humming and singing accuracy using the Wise and Sloboda (2008) rating scale for singing accuracy in song performance. Student data were analyzed through mean, median, and standard deviation, and comparative data were analyzed using a t-test. Findings showed mixed results in the effectiveness of humming as a viable musicking activity. Significant growth was found across all measures in both humming and non-humming classes. However, greater significance was observed for students in classes that had music later in the school year, indicating that time influences kindergarteners' musical growth. Findings also indicated that exposure to music instruction has an impact on kindergarteners' willingness to perform music. / Music Education

The aim of this study was to compare the Query-by-Humming systems Midomi, Musicline and Tunebot regarding their retrieval effectiveness. The aim was to see if there were differences between the systems but also between the user groups common users, musicians and singers. Query-by-Humming system means that the user sings a tune that the system then use to find the right melody.To compare the systems and their users, queries where collected from the different user groups and replayed for the systems. Mean Reciprocal Rank and Friedman test was used to do the comparison.The results showed that the system did not achieve equivalent and that there were no difference between the user groups. The Mean Reciprocal Rank showed that the systems had very different retrieval effectiveness, where Midomi was the system with best result and Musicline with the lowest result. / Program: Bibliotekarie

Substance use disorders (SUD) are among the most significant worldwide public health challenges. Isolation and separation are some of the more common indicators of SUD. Even though various music therapy interventions are used to address clinical goals when working with clients with SUD, voicework, specifically, has not been abundantly researched with this client group. Research has shown that the use of the voice has the ability to turn isolation into connection. This qualitative study therefore examined whether voicework with this client group could facilitate connection. Seven clients participated in six group music therapy sessions held at a halfway house over three weeks. The sessions as well as the one focus group were transcribed, and thick descriptions were written of musical excerpts; all were then analysed thematically. From the data, the following four themes were developed: (1) multiple forms of connection were afforded through voicework in music therapy; (2) music therapy offered multiple opportunities for facilitating connection; (3) particular techniques were useful for enhancing connection; (4) a music therapy process, centred around voicework, offered participants an experience in which they could reflect on connection and disconnection. The findings suggest that voicework can be a useful intervention within music therapy to create opportunities for connection to both the self and other. / Dissertation (MMus (Music Therapy))--University of Pretoria, 2021. / Music / MMus (Music Therapy) / Unrestricted

The ever-increasing density of computer storage devices has allowed the average user to store enormous quantities of multimedia content, and a large amount of this content is usually music. Current search techniques for musical content rely on meta-data tags which describe artist, album, year, genre, etc. Query-by-content systems, however, allow users to search based upon the actual acoustical content of the songs. Recent systems have mainly depended upon textual representations of the queries and targets in order to apply common string-matching algorithms and are often confined to a single query style (e.g., humming). These methods also lose much of the information content of the song which limits the ways in which a user may search. We present a query-by-content system which supports querying in several styles using a Self-Organizing Map as its basis. The results from testing our system show that it performs better than random orderings and is, therefore, a viable option for musical query-by-content.

abstract: Two different techniques utilizing vocalization in clarinet performance were examined through a research study in which one subject (the author) played several tasks utilizing each technique with different played pitches, vocalized pitches, and dynamic levels for each task. The first technique was singing while playing, which is also sometimes referred to as growling. This technique is produced by engaging the vocal folds during regular clarinet performance to create a second vocalized pitch that resonates in the oral cavity and exits through the mouthpiece as part of the same air stream as that used by the vibrating reed. The second technique studied was a much more recently pioneered technique that the author has labelled humming while playing due to its similarity to traditional humming in vocal pedagogy. This technique is produced by filling the oral cavity with air, sealing it off from the rest of the vocal tract using the tongue and soft palate, and humming through the nasal cavity. The cheeks are simultaneously used to squeeze air into the mouthpiece to maintain the clarinet pitch, much like in the technique of circular breathing. For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects. This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique. / Dissertation/Thesis / Example of Singing While Playing / Example of Humming While Playing / Doctoral Dissertation Music 2019

Avec l'explosion des données numériques disponibles (notamment via Internet), la question de l'accès aux documents reçoit depuis quelques années une attention accrue. En effet, l'indexation des documents, traditionnellement fondée sur la description textuelle, atteint rapidement ses limites en particulier lorsque le contenu concerné est musical. <br /><br />Cette thèse focalise sur la recherche de documents musicaux par chantonnement. Nous présentons un système qui permet de retrouver une musique à partir d'un extrait chanté par l'utilisateur. Sa réalisation a nécessité deux études préalables qui ont comblé quelques lacunes d'un domaine de recherche encore jeune. Nous nous sommes intéressés, d'une part, à la "justesse" des mélodies chantonnées (par l'étude de 500 requêtes), et d'autre part, à certains aspects de la similarité mélodique (par la réalisation de tests subjectifs).<br /><br />Grâce à ces études, nous proposons un système de recherche original et performant. Refusant une description tempérée de la requête (i.e. comportant une quantification des notes au demi-ton), le système proposé retrouve plus de 90% des documents musicaux attendus, pour une taille de requête moyenne (13 notes). La base de données consultée est constituée de 20.000 fichiers MIDI (40 millions de notes indexées). Le temps d'attente est acceptable puisqu'il ne faut que quelques secondes au système pour fournir sa réponse (i.e. la liste des documents les plus similaires à la requête, ceux-ci étant classés par ordre de similarité).<br /><br />Cette thèse apporte également une aide dans le processus d'évaluation de la qualité de tels systèmes. En effet, nous proposons une modélisation de l'imprécision des mélodies chantonnées. Celle-ci permet la génération de requêtes artificielles qui peuvent être substituées aux requêtes réelles lors du test de systèmes. Cette alternative permet d'alléger le processus de test tout en conservant une stimulation réaliste.

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Music analysis and source separation have become important and allied areas of research over the last decade. Towards this, analyzing a music signal for important events such as onsets, offsets and transients are important problems. These tasks help in music source separation and transcription. Approaches in source separation too have been making great strides, but most of these techniques are aimed at Western music and fail to perform well for Indian music. The fluid style of instrumentation in Indian music requires a slightly modified approach to analysis and source separation. We propose an onset detection algorithm that is motivated by the human auditory system. This algorithm has the advantage of having a unified framework for the detection of both onsets and offsets in music signals. This onset detection algorithm is further extended to detect percussive transients. Percussive transients have sharp onsets followed closely by sharp offsets. This characteristic is exploited in the percussive transients detection algorithm. This detection does not lend itself well to the extraction of transients and hence we propose an iterative algorithm to extract all types of transients from a polyphonic music signal. The proposed iterative algorithm is both fast and accurate to extract transients of various strengths. This problem of transient extraction can be extended to the problem of harmonic/percussion sound separation(HPSS), where a music signal is separated into two streams consisting of components mainly from percussion and harmonic instruments. Many algorithms that have been proposed till date deal with HPSS for Western music. But with Indian classical/film music, a different style of instrumentation or singing is seen, including high degree of vibratos or glissando content. This requires new approaches to HPSS. We propose extensions to two existing HPSS techniques, adapting them for Indian music. In both the extensions, we retain the original framework of the algorithm, showing that it is easy to incorporate the changes needed to handle Indian music. We also propose a new HPSS algorithm that is inspired by our transient extraction technique. This algorithm can be considered a generalized extension to our transient extraction algorithm and showcases our view that HPSS can be considered as an extension to transient analysis. Even the best HPSS techniques have leakages of harmonic components into percussion and this can lead to poor performances in tasks like rhythm analysis. In order to reduce this leakage, we propose a post processing technique on the percussion stream of the HPSS algorithm. The proposed method utilizes signal stitching by exploiting a commonly used model for percussive envelopes. We also developed a vocals extraction algorithm from the harmonic stream of the HPSS algorithm. The vocals extraction follows the popular paradigm of extracting the predominant pitch followed by generation of the vocals signal corresponding to the pitch. We show that HPSS as a pre-processing technique gives an advantage in reducing the interference from percussive sources in the extraction stage. It is also shown that the performance of vocal extraction algorithms improve with the knowledge about locations of the vocal segments. This is shown with the help of an oracle to locate the vocal segments. The use of the oracle greatly reduces the interferences from other dominating sources in the extracted vocals signal.

This work contains overview of methods used in the area of Music Information Retrieval, mainly for purposes of searching of musical recordings. Several existing services in the areas of music identification and searching are presented and their methods for unique song identification are described. This work also focuses on possible modifications of these algorithms for searching of cover versions of songs and for the possibility of searching based on voice created examples.