Automatic Detection of Ornamentation in Flamenco

Au oma ic De ec ion o O namen a ion in Flamenco F ancisco G´ omez ∗Aggelos Pik akis†Joaqu´ın Mo a‡Jos´e Miguel D´ıaz-B´a˜nez § Emilia G´omez¶F ancisco Escoba k 1 In oduc ion O namen a ion is a cha ac e is ic ea u e in he melody o many musical adi ions in he wo ld, including flamenco music. The e is no uni e sal defini ion o o namen a ion as i is e y associa ed wi h musical s yle. In Wes e n classical music, wi h i s long-s anding analysis adi ion, o namen a- ion has been s udied ex ensi ely; conside he o namen a ion ables om Ba oque o Roman icism, o example. On he con a y, in spi e o he always-hea d claim ha flamenco is e y melisma ic, scan esea ch ha e been ca ied ou o define flamenco o namen s. Fo example, he s uc u al ole o flamenco melismas has no been ho oughly desc ibed ye , no i s ole in s yle defini ion. This pape is conce ned wi h he s udy o o namen a ion in flamenco music. As a s a ing poin , we defined a se o o namen s, mainly aken o adap ed om classical music. The nex s ep was o selec a flamenco co pus - o med by audio eco dings- whe e he selec ed se o o namen s would be looked up. In o de o do his in an au oma ic way we had o design an app op ia e pa e n de ec- ion algo i hm. The algo i hm o Smi h-Wa e man [4] was adap ed o ou pu poses. The ob ained esul s we e p omising and hey cons i u ed a fi s s ep owa d a sys ema ic s udy o o namen a ion in flamenco music. 2 O namen a ion in Flamenco Singing In a melodic ph ase no es can be classified as main no es, which a e essen ial componen s o he melody, and o namen a ion no es, whose ole is he embellishmen o he melody. Main no es belong o he es ablished scale, whe eas he o namen s no necessa ily belong o he scale o he ha mony o he piece. Howe e , he p esence o o namen s and embellishmen s o en ende s he piece i s mood o sense. As men ioned be o e, li le s udy has been ca ied ou o o namen s in flamenco music. Some au ho s [3, 1] ha e s udy flamenco singing s yles in-dep h, bu unaccoun ably hey men ion he exis ence o o namen a ion wi hou unde aking an analy ical s udy. In gene al, o namen s in flamenco s yles s ongly depends on he s yle i sel , he ocal echnique o he pa icula can ao (singe ), and he singing school (compa e, o example, Mai ena (Se ille) o Aguje as (Je ez)). Fo his wo k a o al o 30 di e en o namen s we e defined. Selec ion c i e ia we e mainly g ounded on melodic mo emen and in e al ype. The selec ed o namen s can be classified in he ollowing b oad ca ego ies: mo den s, double mo den s, ills, u ns, 3-no e mo emen s, and 4-no e mo e- men s. Fo example, wi hin he ca ego y o mo den s, we can find uppe and lowe mo den s; depending on he ype o scale, he o namen can be a a dis ance o a one o hal - one. The 3-no e mo emen consis s o h ee consecu i e no es in he es ablished scale; he 4-no e o namen s a e de- fined simila ly. These o namen s can be ega ded as he building blocks o mo e complica ed, longe o namen s occu ing in flamenco music. 3 O namen De ec ion Me hod The nex s ep was o loca e he defined melismas in a gi en co pus. The co pus was o med by pieces belonging o he on´ as s yle. These a e flamenco a cappella can es (songs). The co pus con ains h ee ∗School o Compu e Science, Poly echnic Uni e si y o Mad id †Depa men o In o ma ics, Uni e si y o Pi aeus ‡Depa men o E olu i e and Educa ional Psychology, Uni e si y o Se ille §School o Enginee ing, Uni e si y o Se ille ¶Music Technology G oup, Uni e si a Pompeu Fab a kDepa men o Spanish Li e a u e, Uni e si y o Se ille 1 e y well defined subs yles: deblas,ma ine es 1, and ma ine es 2; see [2] o a desc ip ion o hese s yles. The o al numbe o songs used in ou s udy was 72, whe e 16 co esponded o deblas, and 56 o bo h kind o ma ine es. These can es we e also chosen because o he high numbe o o namen s hey con ain. Now le us summa ize he algo i hm used in loca ing he o namen s in he co pus. The music eco dings a e fi s p ocessed o compu e a melodic ep esen a ion in e ms o no e onse , du a ion and pi ch. We hen ob ain he melodic con ou by con e ing pi ch in o in e al alues and build a simila i y g id. This g id is subsequen ly p ocessed by a sequence alignmen algo i hm o e eal possible occu ences o he pa e n (o namen ) in ques ion. Due o lack o space, we canno desc ibe all he de ails o he algo i hm in ull gene ali y. Howe e , i is impo an o no ice ha he algo i hm uses h ee use -defined pa ame e s o h esholds wo h elabo a ing upon. Those h ee pa ame e s a e: Tp,Tin , and Tldu . Pa ame e Tpis he penal y e m in oduced in he defini ion o he local simila i y measu e; Tin is a h eshold o con ol he absolu e di e ence o music in e als; Tldu is a h eshold o manage he di e ence in ime du a ion be ween wo no es. This las pa ame e allows he algo i hm o ecognize he occu ence o an o namen sung wi h di e en empi o wi h se e e dis o ion o i s du a ions. The final s ep o ou algo i hm p oceeds in he ligh o he s anda d Smi h-Wa e man algo i hm; see [4]. This algo i hm compu es he accumula ed cos s associa ed wi h he nodes o he simila i y g id. As a las sa e y measu e agains i ele an esul s, he deg ee o ime wa ping be ween he pa e n and he de ec ed ins ance is also examined. To his end, we compu e he absolu e di e ence o he espec i e du a ions and di ide i by he du a ion o he pa e n. I he a io exceeds a use - defined h eshold Twa p, hen he pa h is ejec ed. Equi alen ly, his is a means o con ol he amoun o s e ching/comp ession o he de ec ed ins ance wi h espec o he du a ion o he pa e n ha se es as he que y. 4 Resul s and Concluding Rema ks Ou p elimina y esul s showed ha fine- uning he algo i hm was somehow delica e. Se e al com- bina ions o h eshold we e es ed, anging om alues allowing s ic ma ches o allowing loose ma ches. We a e s ill explo ing mo e combina ions o de e mine he bes ade-o among he pa- ame e s. Loca ion o o namen s was good in gene al, al hough hey can subs an ially imp o ed in se e al di ec ions, one o he mos impo an being he adequa e disc imina ion be ween o namen s and melody i sel in ce ain cases. The s udy o he dis ibu ion o o namen s ac oss s yles e ealed e y in e es ing ac s. I can be no iced a endency o use some o namen s in ce ain s yles. Fo example, o namen s lowe -4-no es-1 and lowe -4-no es-3, wo o namen s belonging o ca ego y 4-no e mo emen , o en appea in s yles o debla and ma ine e 2, which a e closely ela ed. On he o he hand, some o namen s mos ly appea in ma ine e 1. Finally, o he o namen s, e en when he h eshold a e loose , ba ely appea o no a all. We a e s ill in e p e ing he meaning o his esul s and how o in eg a e hem in o a heo y o he flamenco o namen a ion. The goal o his ongoing esea ch is o ca y ou a sys ema ic s udy o o namen a ion in flamenco music. Tha s udy will include bo h i s musicological and compu a ional s udy. The esul s p esen ed he e a e a fi s s ep in bo h di ec ions. Re e ences [1] G. Cas o Buend´ıa. Los can es sin gui a a en el flamenco, an eceden es musicales y modali- dades. Re is a Uni e si a ia de In es igaci´on sob e Flamenco La Mad ug´ a, 2010. [2] J. Mo a, F. G´omez, E. G´omez, F. Escoba Bo ego, and J. M D´ıaz B´a˜nez. Cha ac e iza ion and melodic simila i y o a cappella flamenco can es. In P oceedings o ISMIR, pages 9–13, U ech School o Music, Augus 2010. [3] Hip´oli o Rossy. Teo ´ ıa del can e jondo. CREDSA, 1966. [4] T.F. Smi h and M.S. Wa e man. Iden ifica ion o molecula sequences. J. Molecula Biology, 147:195–197, 1981. 2 View publica ion s a s