Entrevista en el programa Lògic

Arxiu #39 // Emilia Gómez // UNIVERSOS A LA MÀ // Lògic

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New open-access journal Transactions of ISMIR, open for submissions

We launched the Transactions of the International Society for Music Information Retrieval, the open access journal of the ISMIR society at Ubiquity press. I am serving as Editor-in-Chief, together with Simon Dixon and Anja Volk.

Transactions of the International Society for Music Information Retrieval

TISMIR publishes novel scientific research in the field of music information retrieval (MIR).

We welcome submissions from a wide range of disciplines: computer science, musicology, cognitive science,  library & information science and electrical engineering.

We currently accept submissions.

View our submission guidelines for more information.

TISMIR

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Two new industrial PhD projects

Two PhD students, Blai Meléndez-Català and Andrés Pérez-López, are joining my lab thanks to the industrial doctorate program from AGAUR, which supports collaboration between universities and industrial partners, in this case both from Barcelona. These students will work at the company but come to the lab for some time to interact and collaborate with us.

I will be the main academic supervisor of these projects, which are both linked to our research on audio processing and description, and dealing with large audio datasets and focusing on two particular problems:

  • Music/Speech Detection in Broadcast Media Programs” in collaboration  with  BMAT, in particular with Emilio Molina. Blai Meléndez Català is our PhD fellow, and the goal of this project is to research on the task of audio segmentation and tagging in the context audiovisual recordings.
  • Immersive Audiovisual Production Enhacement based on 3D Audio“, in collaboration with Fundación Eurecat, in particular with the audio-visual technologies group leaded by Adan Garriga. This project is related to 3D audio for virtual reality applications, and Andrés Pérez is a new PhD student that will research on innovative production tools for creative industries.

There is some more info (in catalan or spanish) on the UPF web site.

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Special Issue at IEEE Multimedia Magazine

I have been collaborating for a while now on the edition of a Special Issue at IEEE Multimedia Magazine, which gathers state-of-the-art research on multimedia methods and technologies aimed at enriching music performance, production and consumption.

I have had the change to co-edit this issue with my colleagues Cynthia Liem (TU Delft, The Netherlands) and George Tzanetakis (University of Victoria, Canada), and I am very happy with the outcomes.

It is the second time I act as a co-editor for a journal (the first one was at JNMR and related to computational ethnomusicology) and I learnt a lot from the process. Editors have to asure good submissions, good reviews and recommendations, keeping the coherence and theme that we wanted to give as a message to our community. Yes: access, distribution and experiences in music are changing with new technologies. I am very happy with the outcomes!  Check our editorial paper here, and the full issue here.

And I love the design!

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Journal paper and open dataset for source separation in Orchestra music

As part of the PHENICX project, we have recently published our research results in the task of audio sound source separation, which is the main research topic of one of our PhD students, Marius Miron.

During this work, we developed a method for orchestral music source separation along with a new dataset: the PHENICX-Anechoic dataset. The methods were integrated into the  PHENICX project for tasks as orchestra focus/instrument enhancement. To our knowledge, this is the first time source separation is objectively evaluated in such a complex scenario. 

This is the complete reference to the paper:

M. Miron, J. Carabias-Orti, J. J. Bosch, E. Gómez and J. Janer, “Score-informed source separation for multi-channel orchestral recordings”, Journal of Electrical and Computer Engineering (2016))”

Abstract: This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distant-microphone setup. To solve these problems, we design context-specific methods such as the refinement of score-following output in order to obtain a more precise alignment. Moreover, we extend a close-microphone separation framework to deal with the distant-microphone orchestral recordings. Then, we propose the first open evaluation dataset in this musical context, including annotations of the notes played by multiple instruments from an orchestral ensemble. The evaluation aims at analyzing the interactions of important parts of the separation framework on the quality of separation. Results show that we are able to align the original score with the audio of the performance and separate the sources corresponding to the instrument sections.

The PHENICX-Anechoic dataset includes audio and annotations useful for different MIR tasks as score-informed source separation, score following, multi-pitch estimation, transcription or instrument detection, in the context of symphonic music. This dataset is based on the anechoic recordings described in this paper:

Pätynen, J., Pulkki, V., and Lokki, T., “Anechoic recording system for symphony orchestra,” Acta Acustica united with Acustica, vol. 94, nr. 6, pp. 856-865, November/December 2008.

For more information about the dataset and how to download you can access the PHENICX-Anechoic web page.

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La NASA rinde homenaje a sus heroínas invisibles

Es el título de un artículo aparecido hoy en la Vanguardia y escrito por Josep Corbella, en el que se refiere a la película ‘Figuras ocultas’, la cual rememora el papel de mujeres clave en la carrera espacial. En él he tenido la suerte de poder aportar mi granito de area desde el punto de vista de la ingeniería, donde el porcentaje de mujeres es incluso menor si cabe que en otros ámbitos científicos.

Podéis leer el artículo aquí.

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Tecnologia Musical – Deuwatts a BTV

Ahir es va emetre el program Deuwatts amb un episodi sobre Tecnologia Musical on vaig tenir el plaer de participar. Aquí em podeu veure!

http://play.barcelonatv2.webtv.flumotion.com/play/player?podId=48610&playerId=8

 

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La ciencia de la electrónica

 

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El pasado mes de Diciembre, en el programa Longitud de Onda, charlamos sobre las tecnologías que se están desarrollando actualmente en los entornos de investigación en música electrónica, en concreto de los resultados del proyecto Europeo GiantSteps. Copio aquí un pequeño resumen y un enlace al podcast, que ya está en la web, por si lo queréis escuchar.

GiantSteps, un proyecto de investigación y desarrollo financiado por la Unión Europea entre 2013 y 2016, en el que han colaborado, además del MTG de la UPF, instituciones como el departamento de percepción computacional de la Universidad Johannes Kepler de Linz (Austria), el STEIM (STudio for Electro Instrumental Music) de Amsterdam, y empresas punteras de tecnología musical como Reactable Systems (ubicada en Barcelona) y la Berlinesa Native Systems. Los objetivos del proyecto eran la creación de herramientas e interfaces musicales para personas con poca experiencia en creación musical o para ayudar a romper bloqueos creativos. Dichos sistemas incorporan en sus algoritmos un cierto conocimiento musical extraído de expertos o del análisis de corpus musicales. Más específicamente el proyecto se ha centrado en música conocida como EDM (Electronic Dance Music). Se estima que la EDM genera casi la mitad de los ingresos musicales en EEUU, así que no podemos ignorarla o pensar que es una moda de verano.

Podéis escuchar el programa en éste enlace.

Muchas gracias a Perfecto Herrera por generar el material que se utilizó en el programa!

No os perdáis el programa de Enero, en el que hablaremos de tecnología musical para diferentes culturas y del proyecto CompMusic.

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Música e inteligencia artificial

Coincidiendo con el NIPS, el congreso más relevante en inteligencia artificial y que está teniendo lugar en Barcelona ésta semana, aprovecho para retomar éste post sobre mi intervención el mes pasado en Longitud de Onda, programa de Radio Clásica, Radio Nacional de España.

Podéis escuchar el programa “Bits musicales” con más detalles en la web de Radio Clásica. 

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En él hablamos de que recientemente hemos visto en la comunidad de investigación algunos proyectos donde algoritmos de ordenador crean, en colaboración con humanos, obras musicales. La particularidad de dichos algoritmos respecto a trabajos anteriores dentro de la composición algorítmica es que parten de analizar grandes colecciones de música para intentar “imitar” ciertos patrones musicales.

En el programa hablamos de dos ejemplos recientes de trabajos de éste tipo que además se han llevado al gran público, lo que ha generado multitud de comentarios y discursión en los foros académicos y también con el público en general: el musical Beyond the Fence, y el trabajo del proyecto FlowMachines del laboratorio de SONY CSL en París, del que podéis escuchar algunos ejemplos: Daddy’s Car: en el estilo de los Beatles  y Mister Shadow, al estilo de cantautores norteamericanos.

Y hoy quiero destacar que en NIPS se presenta ésta tarde a las 18:00 una demo  de Magenta, el sistema de creación musical de la empresa norteamericana google brain, basada en redes neuronales (LSTM-based recurrent neural networksDeep Q-learning). Si estáis por ahí no os la perdáis! 

Referencias

  • Colton, S., Llano, M. T., Hepworth, R., Charnley, J., Gale, C. V., Baron, A., Pachet, F., Roy, P., Gervás, P., Collins, N., Sturm, B., Weyde, T., Wolff, D. and Lloyd, J. The Beyond The Fence Musical and Computer Says Show Documentary. 7th International Conference on Computational Creativity (ICCC 2016),Paris (France), June 2016
  • Pachet, F. Flow­Machines: CP techniques to model style in music and text, ACP (Association for Constraint Programming), September 2015
  • Roberts, A., Engel, J., Hawthorne, C., Simon, S., Waite, E., Oore, S., Resnick, C., Eck, D. Interactive musical improvisation with Magenta, NIPS 2016, Barcelona.

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Interview at Women in MusicTech, Georgia Tech University

Women in MusicTech is the first student organisation in the Georgia Tech center for Music Technology, a research center focusing on digital signal processing, acoustics, interactive system design, and robotics. Their goal is to encourage more women to join our amazing field of study, and to highlight the often unsung role of women in music technology. It was a pleasure for me to be interviewed by Amruta Vidwans, graduate student in this center.

I am very happy with the result, we can read the interview here. I really love their logo:

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