• The Journal of the Acoustical Society of Korea
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• v.30 no.6
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• pp.353-359
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• 2011

This paper proposes a vocal enhancement technique for improving the performance of vocal pitch detection in polyphonic music signal. The proposed vocal enhancement technique predicts an accompaniment signal from the input signal and generates an accompaniment replica signal according to the vocal power. Then, it removes the accompaniment replica signal from the input signal, resulting in a vocal-enhanced signal. The performance of the proposed method was measured by applying the same vocal pitch extraction method to the original and the vocal-enhanced signal, and the vocal pitch detection accuracy was increased by 7.1 % point in average.

• Broadcasting and Media Magazine
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• v.16 no.4
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• pp.84-92
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• 2011

다성 음악 신호의 주요 멜로디 검출 기술은 프레임 단위로 다중 피치를 검색하고 멜로디 피치를 선택하여 최종 멜로디를 검출한다. 그러나 다중 피치 검색의 한계와 피치 검색에서의 더블링(doubling)과 하빙(halving) 등으로 인하여 멜로디 피치 검출의 정확도가 저하되는 문제점을 가진다. 따라서 다성 음악의 주요 멜로디 검출 과정은 프레임 사이의 멜로디 피치를 분석하여 추가적으로 멜로디 피치를 보정하는 과정이 필요하다. 본 고에서는 다성 음악 신호에서 프레임 단위로 검출된 멜로디 피치를 보정하여 주요 멜로디 검출의 정확도를 추가로 향상시키는 기술들을 소개한다. 다양한 기술들을 접근 방식에 따라 분류하여 설명하고, 대표적인 기술의 검출 정확도 향상 성능을 간단히 정리한다.

• Proceedings of the Korean Society of Broadcast Engineers Conference
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• 2012.07a
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• pp.167-170
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• 2012

본 논문에서는 박자 분류 방법을 사용하여 다성 음악 신호의 템포 쌍을 검출하는 방법을 제안한다. 템포를 검출하는 방법은 음의 시작점을 추출하여 음악의 주기적인 흐름을 파악한 뒤, 그 주기를 템포로 변환하는 과정으로 구성된다. 제안한 기술은 템포로 추측되는 배수 관계의 템포 후보를 추출한 뒤, 템포 후보를 박자에 따라 분류하고 곡의 빠르기를 고려하여 최종 템포 쌍을 검출한다. 제안한 방법을 사용하여 높은 정확도로 템포 쌍이 검출되는 것을 확인하였다.

• Journal of the Institute of Electronics Engineers of Korea SP
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• v.47 no.5
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• pp.109-116
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• 2010

In this paper, we propose a method for extracting predominant melody of polyphonic music based on harmonic structure. Since polyphonic music contains multiple sound sources, the process of melody detection consists of extraction of multiple fundamental frequencies and determination of predominant melody using those fundamental frequencies. Harmonic structure is an important feature parameter of monophonic signal that has spectral peaks at the integer multiples of its fundamental frequency. We extract all fundamental frequency candidates contained in the polyphonic signal by verifying the required condition of harmonic structure. Then, we combine those harmonic peaks corresponding to each extracted fundamental frequency and assign a rank to each after calculating its harmonic average energy. We finally run pitch tracking based on the rank of extracted fundamental frequency and continuity of fundamental frequency, and determine the predominant melody. We measure the performance of proposed method using ADC 2004 DB and 100 Korean pop songs in terms of MIREX 2005 evaluation metrics, and pitch accuracy of 90.42% is obtained.

• The Journal of the Acoustical Society of Korea
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• v.28 no.8
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• pp.697-705
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• 2009

An unsupervised (blind) method is proposed aiming at extracting rhythmic sources from commercial polyphonic music whose number of channels is limited to one. Commercial music signals are not usually provided with more than two channels while they often contain multiple instruments including singing voice. Therefore, instead of using conventional modeling of mixing environments or statistical characteristics, we should introduce other source-specific characteristics for separating or extracting sources in the under determined environments. In this paper, we concentrate on extracting rhythmic sources from the mixture with the other harmonic sources. An extension of nonnegative matrix factorization (NMF), which is called nonnegative matrix partial co-factorization (NMPCF), is used to analyze multiple relationships between spectral and temporal properties in the given input matrices. Moreover, temporal repeatability of the rhythmic sound sources is implicated as a common rhythmic property among segments of an input mixture signal. The proposed method shows acceptable, but not superior separation quality to referred prior knowledge-based drum source separation systems, but it has better applicability due to its blind manner in separation, for example, when there is no prior information or the target rhythmic source is irregular.