Work on the problem of computer based determination of the musical mode and tonality of a melody from sound input is presented. The study proposes a tool for determination of a time dependent tonal context vector for melodies from acoustical input. Each element of this vector, called a tonal component, indicates the extent of a specific scale usage. The system is made up of two stages: The first is involved in digital signal processing and is used to convert sound input of melodies into a sequence of musical note intervals and their associated occurrence times. The second stage uses finite state automats to match patterns of the interval sequences with pre-programmed scale patterns. The output consists of a time dependent tonal context vector whose elements are relative strengths of various tonal components regarding the melody under consideration.


Modeling of plosive to vowel transitions
Beköz, Alican; Demirekler, Mübeccel; Department of Electrical and Electronics Engineering (2007)
This thesis presents a study concerning stop consonant to vowel transitions which are modeled making use of acoustic tube model. Characteristics of the stop consonant to vowel transitions are tried to be obtained first. Therefore several transitions including fricative to vowel transitions are examined based on spectral and time related properties. In addition to these studies, x-ray snapshots, lip videos and also experiments including subjects are used to intensify the characterization, from the production...
Panoramic recording and reproduction of multichannel audio using a circular microphone array
Hacıhabiboğlu, Hüseyin (2009-10-18)
Multichannel audio reproduction generally suffers from one or both of the following problems: i) the recorded audio has to be artificially manipulated to provide the necessary spatial cues, which reduces the consistency of the reproduced sound field with the actual one, and ii) reproduction is not panoramic, which degrades realism when the listener is not seated in a desired ideal position facing the center channel. A recording method using a circularly symmetric array of differential microphones, and a rep...
Hacıhabiboğlu, Hüseyin (2013-10-23)
Acoustic intensity can be used for different purposes such as sound source localisation, source separation and spatial audio object coding. Three-dimensional measurement of the acoustic intensity requires the design of special microphone arrays. A theoretical analysis and numerical simulations of intensity measurements using open spherical microphone arrays are presented in this paper. The calculation of the acoustic intensity using signals from an open spherical microphone array is presented first. Error m...
The role of non-diatonic chords in perception of harmony
Atalay, Nart Bedin; Tekman, Hasan Gürkan; Department of Cognitive Sciences (2007)
The perceptual reality of the music theoretical relation between the Neapolitan chord and the dominant; and the secondary dominant chord and its diatonic associate was investigated within the chord priming paradigm. In Experiment 1, expectation towards the dominant chord after the Neapolitan chord was observed in Turkish musicians and non-musicians with piano timbre. In Experiment 2, expectation towards the dominant chord after the Neapolitan chord was observed in European musicians but not in European non-...
Improvisation Based on Imitating Human Players by a Robotic Acoustic Musical Device
Aydin, Kubilay K.; Erkmen, Aydan Müşerref; Erkmen, İsmet (2011-10-21)
A new improvisation algorithm based on parameter estimation process for the imitation control of a robotic acoustic musical device '' ROMI '', is presented in this paper. The musical state representation we have developed for controlling ROMI is a feature extractor for learning to imitate human players in a duet. ROMI ' s intelligent control architecture also has the ability to provide player identification and performance training. In this paper we introduce the robotic device ROMI together with its contro...
Citation Formats
O. IZMIRLI and S. BILGEN, “RECOGNITION OF MUSICAL TONALITY FROM SOUND INPUT,” 1994, p. 269, Accessed: 00, 2020. [Online]. Available: