the high temperature resistance was insufficient. This paper depicts an
examination and a comparison of conventional ECM with the experimental model, a silicon diaphragm condenser microphone produced using the
MEMS method. The silicon diaphragm satisfies high-temperature resis-

FRIDAY MORNING, 1 DECEMBER 2006

tance and stable temperature characteristics because of its very small coefficient of linear expansion and it is measured total harmonic distortion
共THD兲 on high pressure sound. Finally, it will be able to be used in hightemperature and high pressure sound conditions in the future.

IAO NEEDLE/AKAKA FALLS ROOM, 8:15 TO 11:15 A.M.
Session 4aMU

Musical Acoustics: Music Information and Communication
Bozena Kostek, Cochair
Gdansk Univ. of Technology, Multimedia Systems Dept., Narutowicza 11- 12, 80-952 Gdansk, Poland
Masuzo Yanagida, Cochair
Doshisha Univ., Dept. of Information Science and Intelligent Systems, 1-3 Tatara-Miyakodani, Kyo-Tanabe,
Kyoto 610-0321, Japan
Invited Papers
8:15
4aMU1. Introduction of the Real World Computing music database. Masataka Goto 共Natl. Inst. of Adv. Industrial Sci. andTechnol. 共AIST兲, 1-1-1 Umezono, Tsukuba, Ibaraki 305-8568, Japan, m.goto@aist.go.jp兲
This paper introduces the RWC (Real World Computing) Music Database, a copyright-cleared music database that is available toresearchers as a common foundation for research. Shared databases are common in other research fields and have contributed
importantly to progress in those fields. The field of music information processing, however, has lacked a common database of musicalpieces and a large-scale database of musical instrument sounds. The RWC Music Database was therefore built in fiscal 2000 and 2001
as the world’s first large-scale music database compiled specifically for research purposes. It contains six original collections: thePopular Music Database 共100 pieces兲, Royalty-Free Music Database 共15 pieces兲, Classical Music Database 共50 pieces兲, Jazz Music
Database 共50 pieces兲, Music Genre Database 共100 pieces兲, and Musical Instrument Sound Database 共50 instruments兲. To address
copyright issues, all 315 musical pieces were originally composed, arranged, or performed, and all instrumental sounds were originally recorded. The database has already been distributed to more than 200 research groups and is widely used. In addition, acontinuous effort has been undertaken to manually annotate a set of music-scene descriptions for the musical pieces, called AIST
Annotation, which consists of the beat structure, melody line, and chorus sections.
8:35

4a FRI. AM

4aMU2. Japanese traditional singing on the same lyrics. Ichiro Nakayama 共Osaka Univ. of Arts, 469, Higashiyama, Kanan-cho,
Minami-Kawachi-gun, Osaka, 585-8555 Japan兲 and Masuzo Yanagida 共Doshisha Univ., Kyo-Tanabe, 610-0321 Japan兲Described is a database of Japanese traditional singing together with supplementary recording of Bel Canto for comparative
studies. Singing sounds and spoken speech by the same singers are recorded in pair to form the body of the database. This database
covers most of genres of Japanese traditional singing, such as Shinto prayers, Buddist prayers, Nor, Kyogen, Heikyoku, Sokyoku,
Gidayu-bushi, Kabuki, Nagauta, Tokiwazu, Kiyomoto, Itchu-bushi, Shinnai, Kouta, Zokkyoku, Rokyoku, Shigin, Ryukyu-clasico,Goze-uta, etc. All the sounds were recorded in anechoic chambers belonging to local institutions, mainly in Osaka and Tokyo, asking
78 professional singers including 18 ‘‘Living National Treasures’’ to sing as informants. The most important point of this database isthat an original lyric especially prepared for this recording is commonly used to make comparative studies easy. All the subjects are
asked to sing the common lyrics in their own singing styles. Shown here are comparisons of formant shifts in vowels from ordinary
speaking to singing for some singers, and comparison of temporal features of fundamental frequency between Japanese traditional
singing and Western Bel Canto. 关Work supported by the Academic Frontier Project, Doshisha University.兴
8:55
4aMU3. Computational intelligence approach to archival musical recordings. Andrzej Czyzewski, Lukasz Litwic, andPrzemyslaw Maziewski 共Gdansk Univ. of Technol., Narutowicza 11/12, 80-952 Gdansk, Poland兲An algorithmic approach to wow defect estimation in archival musical recordings is presented. The wow estimation is based on thesimultaneous analysis of many sinusoidal components, which are assumed to depict the defect. The rough determination of sinusoidal
components in analyzed musical recording is performed by standard sinusoidal modeling procedures employing magnitude and phase
spectra analysis. Since archival recordings tend to contain distorted tonal structure, the basic sinusoidal modeling approach is often
found insufficient, resulting in audible distortions in the restored signal. It is found that the standard sinusoidal modeling approach isprone to errors, especially when strong frequency or amplitude variations of sinusoidal components occur. It may result in gaps orinappropriately matched components, leading to incorrect estimation of the wow distortion. Hence, some refinements to sinusoidal
component analysis including interpolation and extrapolation of tonal components are proposed. As it was demonstrated in experi3235

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ments, due to the nonlinear nature of wow distortion, the enhancement of sinusoidal analysis can be performed by means of a neuralnetwork. The paper demonstrates implemented algorithms for parasite frequency modulation in archival recordings together withobtained results. 关Work supported by the Commission of the European Communities, within the Integrated Project No. FP6-507336:
PRESTOSPACE.兴
9:15
4aMU4. Music information retrieval seen from the communication technology perspective. Bozena Kostek 共Gdansk Univ. ofTechnol., Narutowicza 11/12, PL-80-952 Gdansk, Poland兲Music information retrieval 共MIR兲 is a multidiscipline area. Within this domain one can see various approaches to musicalinstrument recognition, musical phrase classification, melody classification 共e.g., query-by-humming systems兲, rhythm retrieval,high-level-based music retrieval such as looking for emotions in music or differences in expressiveness, and music search based onlisteners’ preferences. One may also find research that tries to correlate low-level descriptor analysis to high-level human perception.
Researchers from musical acoustics, musicology, and music domains on one side, and communication technology on the other side,
work together within this area. This may foster a framework for broader and deeper comprehension of contributions from all these
disciplines and, in addition, translate the automated access to music information, gathered in various forms around the World Wide
Web, as a fully understandable process to all participants regardless of their background. The semantic description is becoming a basisof the next Web generation. Several important concepts have been introduced recently by the researchers associated with the MIR
community with regard to semantic data processing including techniques for computing with words. In this presentation some aspects
related to MIR are briefly reviewed in the context of possible and actual applications of ontology-based approach to this domain.
9:35
4aMU5. Accompaniment included song waveform retrieval based on framewise phoneme recognition. Yuichi Yaguchi and
Ryuichi Oka 共Univ. of Aizu, Tsuruga, Ikkimachi, Aizuwakamatsu, Fukushima, 965-8580 Japan兲
A novel approach is presented for a retrieval method that is useful for waveforms of songs with accompaniment. Audio signals of
songs have some different acoustical characteristics from speech signals. Furthermore, the length per mora of signals is longer thanthat of speech. Therefore, the authors suggest a sound retrieval system for application to musical compositions, including songs, thatextracts framewise acoustical characteristics and uses a retrieval method for absorbing phoneme length. First, the system prepares two
sets of phoneme identification functions that have corresponding order, but for which phoneme sets belong to different environmentsof accompaniment-included or accompaniment-reduced. Next, musical compositions are put into database and the query song wave
converts a waveform to a label sequence using framewise phoneme recognition derived by Bayesian estimation that applies eachphoneme identification function according to whether it is accompaniment-included or not. Finally, the system extracts an intervalarea, such as query data, from a database using spotting recognition that is derived using continuous dynamic programming 共CDP兲.
Retrieval method results agree well with earlier results 关Y. Yaguchi and R. Oka, AIRS2005, LNCS3689, 503–509 共2005兲兴 that applied
the same musical composition set without accompaniment.
9:55–10:10

Break

10:10
4aMU6. Design of an impression-based music retrieval system. Kimiko Ohta, Tadahiko Kumamoto, and Hitoshi Isahara 共NICT,
Keihanna Kyoto 619-0289, Japan, kimiko@nict.go.jp兲
Impression-based music retrieval helps users to find musical pieces that suit their preferences, feelings, or mental states fromamong a huge volume of a music database. Users are asked to select one or more pairs of impression words from among multiple pairsthat are presented by the system and to estimate each selected pair on a seven-step scale to input their impressions into the system. For
instance, if they want to locate musical pieces that will create a happy impression, they should check the radio button ‘‘Happy’’ in theimpression scale: Very happy–Happy–A little happy–Neutral–A little sad–Sad–Very sad. A pair of impression words with a sevenstep scale is called an impression scale in this paper. The system calculates the distance between the impressions of each musical piecein a user-specified music database and the impressions that are input by the user. Subsequently, it selects candidate musical pieces tobe presented as retrieval results. The impressions of musical pieces are expressed numerically by vectors that are generated from amusical piece’s pitch, strength, and length of every tone using n-gram statistics.

Contributed Papers
10:30
4aMU7. Automatic discrimination between singing and speaking
voices for a flexible music retrieval system. Yasunori Ohishi, Masataka
Goto, Katunobu Itou, and Kazuya Takeda 共Grad. School of Information
Sci., Nagoya Univ., Furo-cho 1, Chikusa-ku, Nagoya, Aichi, 464-8603,
Japan, ohishi@sp.m.is.nagoya-u.ac.jp兲
This paper describes a music retrieval system that enables a user toretrieve a song by two different methods: by singing its melody or bysaying its title. To allow the user to use those methods seamlessly withoutchanging a voice input mode, a method of automatically discriminating
between singing and speaking voices is indispensable. We therefore firstinvestigated measures that characterize differences between singing and
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speaking voices. From subjective experiments, we found that human listeners discriminated between these two voices with 70% accuracy for
200-ms signals. These results showed that even short-term characteristics
such as the spectral envelope represented as MFCC can be used as adiscrimination cue, while the temporal structure is the most important cue
when longer signals are given. According to these results, we then developed the automatic method of discriminating between singing and speaking voices by combining two measures: MFCC and an F0 共voice pitch兲
contour. Experimental results with our method showed that 68.1% accuracy was obtained for 200-ms signals and 87.3% accuracy was obtainedfor 2-s signals. Based on this method, we finally built a music retrieval
system that can accept both singing voices for the melody and speaking
voices for the title.
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10:45

11:00

4aMU8. Various acoustical aspects of an Asian „South… Indianclassical music concert. M. G. Prasad 共Dept. of Mech. Eng., Stevens
Inst. of Technol., Hoboken, NJ 07030兲, V. K. Raman 共Flautist,
Germantown, MD 20874兲, and Rama Jagadishan 共Edison, NJ 08820兲

4aMU9. Musical scales, signals, quantum mechanics. Alpar Sevgen
共Dept. of Phys., Bogazici Univ., Bebek 34342, Istanbul, Turkey兲
Scales, being finite length signals, allow themselves to be treated algebraically: key signatures are related to the ‘‘ring’’ property of the scalelabels; cyclically permuted scales and their mirror images have the same
number of sharps and flats; and complementary scales 共like major andpentatonic兲 have their sharp and flat numbers exchanged. A search forminimum principles to select among all possible scales those employed inmusic yields two possibilities: 共a兲 minimize total number of accidentals
and 共b兲 minimize frequency fluctuations in a scale. Either of these minimum principles helps filter those scales employed in music from the universe of all scales, setting up very different criteria than the harmonic
ratios used by musicians. The notes of the scales employed in music seem
to prefer to stay as far apart from each other as possible. Operators thatstep through the multiplet members of scales with N semitones form acomplete set of operators together with those that step through their eigenvectors. The mathematics reveals the discrete Fourier transformations
共DFT兲 and is identical to finite state quantum mechanics of N-level SternGerlach filters worked out by J. Schwinger.

An Asian 共South兲 Indian classical music concert is an integrated acoustical experience for both the audience and the player共s兲. A typical concert
team, either vocal or instrumental, consists of a main vocalist 共or an instrumentalist兲 accompanied by a violinist, up to three percussion instrument players, and a reference drone. The concert is comprised of manysongs. Each song has two main parts, namely Alapana and Kriti. The
Alapana is an elaboration of a raga 共tune兲 and the Kriti refers to the lyricsof the song. The violinist actively follows and supports the main musician
during the concert. The percussion player共s兲 are provided an opportunity
to present a solo of their rhythmic skills. The players and the audience
communicate emotionally and intellectually with each other. Elements
such as aesthetics, rhythm, skill, and emotional aspects of the players areevaluated and appreciated by the audience. This talk will present various
aspects of a concert that brings about an integrated and holistic experiencefor both the audience and the player共s兲. Some samples from live vocal andinstrumental music concerts will be presented.

FRIDAY MORNING, 1 DECEMBER 2006

MAUI ROOM, 7:30 A.M. TO 12:15 P.M.
Session 4aNS

Noise and Architectural Acoustics: Soundscapes and Cultural Perception I
Brigitte Schulte-Fortkamp, Cochair
Technical Univ. Berlin, Inst. of Technical Acoustics, Secr TA 7, Einsteinufer 25, 10587 Berlin, Germany
Bennett M. Brooks, Cochair
Brooks Acoustics Corp., 27 Hartford Turnpike, Vernon, CT 06066
Invited Papers
7:30

4a FRI. AM

4aNS1. Soundscape in the old town of Naples: Signs of cultural identity. Giovanni Brambilla 共CNR Istituto di Acustica ‘‘O.M.
Corbino’’ Via del Fosso del Cavaliere 100, 00133 Roma, Italy兲, Luigi Maffei, Leda De Gregorio, and Massimiliano Masullo 共Second
Univ. of Naples, 81031 Aversa 共Ce兲, Italy兲
Like all cities in Magna Grecia, the ancient Neapolis was built along three main parallel, tight, and straight streets called
decumani. Since then and during the following centuries, commercial and handicraft activities, as well as social life, have beendeveloped along these streets. The narrow ground rooms forced shopkeepers to occupy the main street to show their merchandiseusing vocal appeals to magnify their product, and handicrafts to work directly on the street 共hammering, sawing, etc.兲. Music artists
had their performance on the streets too. The soundscape in the area was a strong symbol of the Neapolitan cultural identity.
Nowadays decumani have kept the main features of the past but some of these are overrun by road traffic. To investigate in which way
the traffic noise has modified the soundscape perception and cultural identity, sound walks were registered during day and night time.
A number of residents were interviewed and laboratory listening tests were carried out. Despite the congested urban environment andhigh sound levels, preliminary results have shown that part of the residential population is still able to identify the soundscape more
related to Neapolitan historical identity.
7:50
4aNS2. Soundscape design in public spaces: Concept, method, and practice. Hisao Nakamura-Funaba and Shin-ichiro Iwamiya
共Kyushu Univ., 4-9-1.Shiobaru, Minami-ku, Fukuoka 815-8540, Japan兲
Soundscape design of public spaces necessitates consideration of whether a space has important meaning for the user. It isessential to imagine an ideal sound environment of that space. We designed an actual soundscape from the viewpoint of theenvironment, information, and decoration. In many cases, producing some silence in an environment becomes the first step ofsoundscape design. There is neither a special technology nor a technique when designing. It merely requires use of a generaltechnology and techniques concerning sound according to location. A key point is knowledge of know how to coordinate thesetechnologies and techniques. For instance, silence was made first at the renewal project of Tokyo Tower observatory throughcancellation of its commercial and call broadcasting functions and installation of sound-absorbing panels to the ceiling. Next, suitable
and small sounds were added at various points. Guests can take time to enjoy viewing as a result.
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