Music Files of TIMBRE-CONSTRAINED RECURSIVE TIME-VARYING ANALYSIS FOR MUSICAL NOTE SEPARATION

• The sound example 1: Mixture C4+D4# (Figure 4.)
• Mixture : C4+D4#
• Original : C4   D4#
• Separated by TD-RR with timbre : C4   D4#
• Separated by TD-NMF : C4   D4#

• The sound example 2: Mixture C4+C5 (Figure 5.)
• Mixture : C4+C5
• Original : C4   C5
• Separated by TD-RR with timbre : C4   C5
• Separated by TD-NMF : C4   C5

• The sound example 3: Mixture C4+G4 (Figure 6.)
• Mixture : C4+G4
• Original : C4   G4
• Separated by TD-RR with timbre : C4   G4
• Separated by TD-NMF : C4   G4

• The sound example 4: Trill (Figure 7.)
• Original : Trill
• Separated by TD-RR with timbre : E5   F5# 
• Separated by TD-NMF : E5   F5#

• The sound example 5: Vibrato (Figure 8.)
• Original : Vibrato
• Separated by TD-RR with timbre : E6 
• Separated by TD-NMF : E6

Music Files of Expressive Gu-Qin Synthesis and Its iOS APP

I. Normal synthesis case

(a) An original Gu-Qin overtone with pitch equal to 167Hz.  (sound)

(b) The synthesized result.  (sound)

II. Pitch modification processing case

(a) A portamento clip with pitch varying from 253Hz to 307Hz.  (sound)

(b) The re-synthesized result using pitch modification to have an artificial gliding around 1 second.  (sound)

III. Time modification processing case

(a) A complex Gu-Qin clip divided into five segments.  (sound)

(b) The re-synthesized result of time modification.  (sound)

IV. Synthesized sound of“Liang Shiau Yin."

(a) 1st sentence.  (sound)

(b) 2nd sentence.  (sound)

(c) 3rd sentence.  (sound)

The first section of "Liang Shiau Yin" Jianzi Pu.  (figure)

Music Files of TELPC BASED TIME-FREQUENCY SCALING IN RE-SYNTHESIZING ISOLATED NOTES FROM POLYPHONIC INSTRUMENTAL MUSIC RECORDINGS for DAFx13

• Extracting the segment of  “It’s easy to remember” whose is performed by John Coltrane.

• The first isolated note : note (Fig5(a)&Fig6(a))

• Transformation 1 : v1 (Fig5(b))

• Transformation 2 :  v2 (Fig6(b))

• The sound example in the paper: original (Fig7)

• Transformation : v1 (Fig8)

• Extracting the segment of Ravel’s violin and cello

• Ravel’s violin and cello duet : original (Fig9)

• Transformation : v1 (Fig10)