Interactive Fundamental Frequency Estimation with Applications to Ethnomusicological Research

Müller M, Rosenzweig S, Driedger J, Scherbaum F. Interactive Fundamental Frequency Estimation with Applications to Ethnomusicological Research. In: AES Conference: 2017 AES International Conference on Semantic Audio. Audio Engineering Society; 2017. Paper P2-7. Available from: https://aes.org/publications/elibrary-page/?id=18777

@inproceedings{Muller2017_18777,
  author = {Müller, Meinard and Rosenzweig, Sebastian and Driedger, Jonathan and Scherbaum, Frank},
  title = {{Interactive Fundamental Frequency Estimation with Applications to Ethnomusicological Research}},
  booktitle = {AES Conference: 2017 AES International Conference on Semantic Audio},
  note = {Paper P2-7},
  year = {2017},
  month = jun,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=18777}
}

TY  - CPAPER
TI  - Interactive Fundamental Frequency Estimation with Applications to Ethnomusicological Research
AU  - Müller, Meinard
AU  - Rosenzweig, Sebastian
AU  - Driedger, Jonathan
AU  - Scherbaum, Frank
T2  - AES Conference: 2017 AES International Conference on Semantic Audio
SP  - 1
EP  - Array
M1  - Paper P2-7
PY  - 2017
DA  - 2017/06/06
UR  - https://aes.org/publications/elibrary-page/?id=18777
PB  - Audio Engineering Society
LA  - en
AB  - The analysis of recorded audio sources has become increasingly important in ethnomusicological research. Such audio material may contain important cues on performance practice, information that is often lost in manually generated symbolic music transcriptions. As an application scenario, we consider in this paper a musically relevant audio collection that consists of three-voice polyphonic Georgian chants. As one main contribution, we introduce an interactive graphical user interface that provides various visual and acoustic control mechanisms for estimating fundamental frequency (F0) trajectories from complex sound mixtures. We then apply this interface for determining F0 trajectories of sung pitches from the Georgian chant recordings and indicate how such F0 annotations can be used as basis for addressing important questions in Georgian music research.
ER  -