• Phonetics and Speech Sciences
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• v.1 no.1
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• pp.63-67
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• 2009

In this paper, in order to protect music copyrights, we propose a music identification system which is scalable to the number of pieces of registered music and robust to signal-level variations of registered music. For its implementation, we define the new concepts of 'music word' and 'music phoneme' as recognition units to construct 'music acoustic models'. Then, with these concepts, we apply the HMM-based framework used in continuous speech recognition to identify the music. Each music file is transformed to a sequence of 39-dimensional vectors. This sequence of vectors is represented as ordered states with Gaussian mixtures. These ordered states are trained using Baum-Welch re-estimation method. Music files with a suspicious copyright are also transformed to a sequence of vectors. Then, the most probable music file is identified using Viterbi algorithm through the music identification network. We implemented a music identification system for 1,000 MP3 music files and tested this system with variations in terms of MP3 bit rate and music speed rate. Our proposed music identification system demonstrates robust performance to signal variations. In addition, scalability of this system is independent of the number of registered music files, since our system is based on HMM method.

• Journal of Audiology & Otology
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• v.24 no.3
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• pp.140-148
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• 2020

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

• Korean Journal of Audiology
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• v.24 no.3
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• pp.140-148
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• 2020

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

• MALSORI
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• no.46
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• pp.37-50
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• 2003

In this paper, we evaluate and compare the performance of speech/music discrimination based on various feature parameters and classifiers. As for feature parameters, we consider High Zero Crossing Rate Ratio (HZCRR), Low Short Time Energy Ratio (LSTER), Spectral Flux (SF), Line Spectral Pair (LSP) distance, entropy and dynamism. We also examine three classifiers: k Nearest Neighbor (k-NN), Gaussian Mixure Model (GMM), and Hidden Markov Model (HMM). According to our experiments, LSP distance and phoneme-recognizer-based feature set (entropy and dunamism) show good performance, while performance differences due to different classifiers are not significant. When all the six feature parameters are employed, average speech/music discrimination accuracy up to 96.6% is achieved.

• Journal of Digital Contents Society
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• v.11 no.2
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• pp.235-242
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• 2010

Differently from instruments which synthesized sounds and tones in the past, voice synthesis engine for music production has reached to the level of creating music as if actual artists were singing. It uses the samples of human voices naturally connected to the different levels of phoneme within the frequency range. Voice synthesis engine is not simply limited to the music production but it is changing cultural paradigm through the second creations of new music type including character music concerts, media productions, albums, and mobile services. Currently, voice synthesis engine technology makes it possible that users input pitch, lyrics, and musical expression parameters through the score editor and they mix and connect voice samples brought from the database to sing. New music types derived from such a development of computer music has sparked a big impact culturally. Accordingly, this paper attempts to examine the specific case studies and the synthesis technologies for users to understand the voice synthesis engine more easily, and it will contribute to their variety of music production.

• Phonetics and Speech Sciences
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• v.7 no.3
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• pp.139-149
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• 2015

This paper aims to analyze pronunciation variations of loanwords produced by Korean and improve the performance of pronunciation modeling of loanwords in Korean by using syllable-based segmentation and phonological knowledge. The loanword text corpus used for our experiment consists of 14.5k words extracted from the frequently used words in set-top box, music, and point-of-interest (POI) domains. At first, pronunciations of loanwords in Korean are obtained by manual transcriptions, which are used as target pronunciations. The target pronunciations are compared with the standard pronunciation using confusion matrices for analysis of pronunciation variation patterns of loanwords. Based on the confusion matrices, three salient pronunciation variations of loanwords are identified such as tensification of fricative [s] and derounding of rounded vowel [ɥi] and [$w{\varepsilon}$]. In addition, a syllable-based segmentation method considering phonological knowledge is proposed for loanword pronunciation modeling. Performance of the baseline and the proposed method is measured using phone error rate (PER)/word error rate (WER) and F-score at various context spans. Experimental results show that the proposed method outperforms the baseline. We also observe that performance degrades when training and test sets come from different domains, which implies that loanword pronunciations are influenced by data domains. It is noteworthy that pronunciation modeling for loanwords is enhanced by reflecting phonological knowledge. The loanword pronunciation modeling in Korean proposed in this paper can be used for automatic speech recognition of application interface such as navigation systems and set-top boxes and for computer-assisted pronunciation training for Korean learners of English.