News and Events

Ajay Srinivasamurthy and Sankalp Gulati defend their PhD thesis
17 Nov 2016

Thursday, November 17th 2016 at 15:00h in room 55.309 (Tanger Building, UPF Communication Campus)

Ajay Srinivasamurthy: “A Data-driven Bayesian Approach to Automatic Rhythm Analysis of Indian Art Music”
Thesis director: Xavier Serra
Thesis Committee: Simon Dixon (QMUL), Geoffroy Peeters (IRCAM) and Juan Pablo Bello (NYU)
[Full thesis document and accompanying materials]

Abstract: Large and growing collections of a wide variety of music are now available on demand to music listeners, necessitating novel ways of automatically structuring these collections using different dimensions of music. Rhythm is one of the basic music dimensions and its automatic analysis, which aims to extract musically meaningful rhythm related information from music, is a core task in Music Information Research (MIR).
  Musical rhythm, similar to most musical dimensions, is culture-specific and hence its analysis requires culture-aware approaches. Indian art music is one of the major music traditions of the world and has complexities in rhythm that have not been addressed by the current state of the art in MIR, motivating us to choose it as the primary music tradition for study. Our intent is to address unexplored rhythm analysis problems in Indian art music to push the boundaries of the current MIR approaches by making them cultureaware and generalizable to other music traditions.
  The thesis aims to build data-driven signal processing and machine learning approaches for automatic analysis, description and discovery of rhythmic structures and patterns in audio music collections of Indian art music. After identifying challenges and opportunities, we present several relevant research tasks that open up the field of automatic rhythm analysis of Indian art music. Data-driven approaches require well curated data corpora for research and efforts towards creating such corpora and datasets are documented in detail. We then focus on the topics of meter analysis and percussion pattern discovery in Indian art music.
  Meter analysis aims to align several hierarchical metrical events with an audio recording. Meter analysis tasks such as meter inference, meter tracking and informed meter tracking are formulated for Indian art music. Different Bayesian models that can explicitly incorporate higher level metrical structure information are evaluated for the tasks and novel extensions are proposed. The proposed methods overcome the limitations of existing approaches and their performance indicate the effectiveness of informed meter analysis.
  Percussion in Indian art music uses onomatopoeic oral mnemonic syllables for the transmission of repertoire and technique, providing a language for percussion. We use these percussion syllables to define, represent and discover percussion patterns in audio recordings of percussion solos. We approach the problem of percussion pattern discovery using hidden Markov model based automatic transcription followed by an approximate string search using a data derived percussion pattern library. Preliminary experiments on Beijing opera percussion patterns, and on both tabla and mridangam solo recordings in Indian art music demonstrate the utility of percussion syllables, identifying further challenges to building practical discovery systems.
  The technologies resulting from the research in the thesis are a part of the complete set of tools being developed within the CompMusic project for a better understanding and organization of Indian art music, aimed at providing an enriched experience with listening and discovery of music. The data and tools should also be relevant for data-driven musicological studies and other MIR tasks that can benefit from automatic rhythm analysis.

Thursday, November 17th 2016 at 17:00h in room 55.309 (Tanger Building, UPF Communication Campus)

Sankalp Gulati: “Computational Approaches for Melodic Description in Indian Art Music Corpora”
Thesis director: Xavier Serra
Thesis Committee: Juan Pablo Bello (NYU), Emilia Gómez (UPF) and Barış Bozkurt (Koç Univ.)
[Full thesis document and accompanying materials]

Abstract: Automatically describing contents of recorded music is crucial for interacting with large volumes of audio recordings, and for developing novel tools to facilitate music pedagogy. Melody is a fundamental facet in most music traditions and, therefore, is an indispensable component in such description. In this thesis, we develop computational approaches for analyzing high-level melodic aspects of music performances in Indian art music (IAM), with which we can describe and interlink large amounts of audio recordings. With its complex melodic framework and well-grounded theory, the description of IAM melody beyond pitch contours offers a very interesting and challenging research topic. We analyze melodies within their tonal context, identify melodic patterns, compare them both within and across music pieces, and finally, characterize the specific melodic context of IAM, the ragas. All these analyses are done using data-driven methodologies on sizable curated music corpora. Our work paves the way for addressing several interesting research problems in the field of music information research, as well as developing novel applications in the context of music discovery and music pedagogy.
  The thesis starts by compiling and structuring largest to date music corpora of the two IAM traditions, Hindustani and Carnatic music, comprising quality audio recordings and the associated metadata. From them we extract the predominant pitch and normalize by the tonic context. An important element to describe melodies is the identification of the meaningful temporal units, for which we propose to detect occurrences of nyas svaras in Hindustani music, a landmark that demarcates musically salient melodic patterns.
  Utilizing these melodic features, we extract musically relevant recurring melodic patterns. These patterns are the building blocks of melodic structures in both improvisation and composition. Thus, they are fundamental to the description of audio collections in IAM.We propose an unsupervised approach that employs time-series analysis tools to discover melodic patterns in sizable music collections. We first carry out an in-depth supervised analysis of melodic similarity, which is a critical component in pattern discovery. We then improve upon the best possible competing approach by exploiting peculiar melodic characteristics in IAM. To identify musically meaningful patterns, we exploit the relationships between the discovered patterns by performing a network analysis. Extensive listening tests by professional musicians reveal that the discovered melodic patterns are musically interesting and significant.
  Finally, we utilize our results for recognizing ragas in recorded performances of IAM. We propose two novel approaches that jointly capture the tonal and the temporal aspects of melody. Our first approach uses melodic patterns, the most prominent cues for raga identification by humans. We utilize the discovered melodic patterns and employ topic modeling techniques, wherein we regard a raga rendition similar to a textual description of a topic. In our second approach, we propose the time delayed melodic surface, a novel feature based on delay coordinates that captures the melodic outline of a raga. With these approaches we demonstrate unprecedented accuracies in raga recognition on the largest datasets ever used for this task. Although our approach is guided by the characteristics of melodies in IAM and the task at hand, we believe our methodology can be easily extended to other melody dominant music traditions.
  Overall, we have built novel computational methods for analyzing several melodic aspects of recorded performances in IAM, with which we describe and interlink large amounts of music recordings. In this process we have developed several tools and compiled data that can be used for a number of computational studies in IAM, specifically in characterization of ragas, compositions and artists. The technologies resulted from this research work are a part of several applications developed within the CompMusic project for a better description, enhanced listening experience, and pedagogy in IAM.

17 Oct 2016 - 12:00 | view
Seminar by Dr. Tetsuro Kitahara
11 Oct 2016
Dr. Tetsuro Kitahara from Nihon University will be giving a talk on "From Instrument Recognition to Support of Amateurs' Music Creation" on Tuesday 11 Oct 17:00 in room 52.105.
11 Oct 2016 - 11:29 | view
New students in the SMC Master

In this new academic year 2016-2017, twenty new students have joined the Master in Sound and Music Computing.

Helena Cuesta Mussarra (Spain), Manuel Florencio Olmedo (Spain), Jimmy Jarjoura (Lebanon), Simon Kilmister (UK), Kushagra Sharma (India), Tessy Anne Vera Troes (Luxemburg), Pablo Alonso Jiménez (Spain), Daniel Balcells Eichenberger (Spain), Natalia Delgado Galán (Spain), Manaswi Mishra (India), Nestor Napoles Lopez (Mexico), Minz Sanghee Won (South Korea), Vibhor Bajpai (India), Siddharth Bhardwaj (India), Vsevolod Eremenko (Russia),  Gerard Erruz Lopez (Spain), Joseph Munday (UK), Germán Ruiz Marcos (Spain), Marc Siquier Peñafort (Spain), Meghana Sudhindra (India).

29 Sep 2016 - 15:36 | view
New session of the MOOC on Audio Signal Processing for Music Applications

A new session of the MOOC on Audio Signal Processing for Music Applications is starting in Coursera on September 26th. To enrol go to

This is a 10 week long course that focuses on the spectral processing techniques of relevance for the description and transformation of sounds, developing the basic theoretical and practical knowledge with which to analyze, synthesize, transform and describe audio signals in the context of music applications.

The course is free and based on open software and content. The demonstrations and programming exercises are done using Python under Ubuntu, and the references and materials for the course come from open online repositories. The software and materials developed for the course are also distributed with open licenses.

The course assumes some basic background in mathematics and signal processing. Also, since the assignments are done with the programming language Python, some software programming skills in any language are most helpful. 

23 Sep 2016 - 09:38 | view
Awards from the Board of Trustees of the UPF
Gopala K. Koduri and Sankalp Gulati got the 3rd price of the Knowledge Transfer category given by the Board of Trustees of the UPF for their MusicMuni initiative. MusicMuni will be a spin-off company of the MTG aiming to exploit several technologies developed within the CompMusic project specific for analyzing Indian music in the context of music education. (
Xavier Serra got an award in the category of teaching quality, also given by the Board of Trustees of the UPF, for the Master course on Audio Signal Processing for Music Applications and the accompanying MOOC with the same name. (
19 Sep 2016 - 09:51 | view
Jordi Bonada and Merlijn Blaauw present at Interspeech 2016 and win the Singing Synthesis Challenge
15 Sep 2016 - 10:46 | view
Zacharias Vamvakousis defends his PhD thesis on September 16th
16 Sep 2016
Zacharias Vamvakousis defends his PhD thesis entitled "Digital Musical Instruments for People with Physical Disabilities" on Friday September 16th 2016 at 17:30h in room 55.316 of the Communication Campus of the UPF.

The jury of the defense is: Jose Manuel Iñesta (Alicante University), Hendrik Purwins (Aalborg University), Alfonso Perez (UPF)

Thesis abstract:
Playing a musical instrument has been shown to have a positive impact in the life of individuals in many different ways. Nevertheless, due to physical disabilities, some people are unable to play conventional musical instruments. In this dissertation, we consider different types of physical disabilities and implement specific digital musical instruments suitable for people with disabilities of each type. Firstly, we consider the case of people with limited sensorimotor upper limb functions, and we construct low-cost digital instruments for three different scenarios. Results indicate that the constructed prototypes allow musical expression and improve the quality of life of these users. Secondly, we consider disabilities such as tetraplegia or locked-in syndrome with unaffected eye-movements. For individuals with such conditions, we propose the EyeHarp, a gaze-controlled digital music instrument, and develop specific target selection algorithms which maximize the temporal and spatial accuracy required in music performance. We evaluate the instrument on subjects without physical disabilities, both from an audience and performer perspective. Results indicate that the EyeHarp has a steep learning curve and it allows expressive music performances. Finally, we examine the case of brain-controlled music interfaces. We mainly focus in auditory event related potential-based interfaces. In particular, we investigate and evaluate how timbre, pitch and spatialization auditory cues affect the performance of such interfaces.
15 Sep 2016 - 10:41 | view
Sergio Giraldo defends his PhD thesis on September 16th
16 Sep 2016
Sergio GIraldo defends his PhD thesis entitled "Computational Modelling of Expressive Music Performance in Jazz Guitar: A Machine Learning Approach" on Friday September 16th 2016 at 15:00h in room 55.309 of the Communication Campus of the UPF.

The jury of the defense is: Jose Manuel Iñesta (Alicante University), Hendrik Purwins (Aalborg University), Enric Guaus (UPF)

Thesis abstract:
Computational modelling of expressive music performance deals with the analysis and characterization of performance deviations from the score that a musician may introduce when playing a piece in order to add expression. Most of the work in expressive performance analysis has focused on expressive duration and energy transformations, and has been mainly conducted in the context of classical piano music. However, relatively little work has been dedicated to study expression in popular music where expressive performance involves other kinds of transformations. For instance in jazz mu- sic, ornamentation is an important part of expressive performance but is seldom indicated in the score, i.e. it is up to the interpreter to decide how to ornament a piece based on the melodic, harmonic and rhythmic contexts, as well as on his/her musical background. In this dissertation we investigate the computational modelling of expressive music performance in jazz music, using the guitar as a case study. High-level features are extracted from music scores, and expressive transformations (including timing, energy and ornamentation transformations) are obtained from the corresponding audio recordings. Once each note is characterized by its musical context description and expressive deviations, several machine learning techniques are explored to induce both, black-box and interpretable rule-based predictive models for duration, onset, dynamics and ornamentation transformations. The models are used to both, render expressive performances of new pieces, and attempt to understand expressive performance. We report on the relative importance of the considered music features, quantitatively evaluate the accuracy of the induced models, and discuss some of the learnt expressive performance rules. Furthermore, we present different approaches to semi-automatic data extraction-analysis, as well as some applications in other research fields. The findings, methods, data extracted, and libraries developed for this work are a contribution to expressive music performance field.
15 Sep 2016 - 10:37 | view
Technology Transfer position at the MTG
The Music Technology Group (MTG) of the Universitat Pompeu Fabra, Barcelona ( invites applications for a tech transfer position.
The MTG is a research group specialized in sound and music computing committed to have social impact and with a strong focus on technology transfer activities. The MTG has created several spin-off companies, is active in licensing technologies, collaborates and has contracts with a number of companies, and develops and maintains open software and collaborative based technologies, like Essentia or Freesound, that are exploited in industrial contexts.
Successful candidates for this position should be experienced researchers with a motivation and experience on technology transfer wanting to take a leading role in promoting technology transfer initiatives within the music sector.
Responsible for driving all technology transfer processes to resolution, from market prospection, preparation of internal results for exploitation and the negotiation and follow-up of contracts / license agreements with external customers and the university. Specifically to:
  • Promote the existing technologies and those resulting from our ongoing research projects.
  • Understand the market needs and identify potentially interested partnerships/ customers.
  • Collaborate with the researchers in the preparation of the technologies to be ready for the exploitation.
  • Actively look for tech transfer opportunities.
  • Manage technology transfer relationships (negotiations, licensing agreements).
  • PhD or comparable research experience.
  • Experience in applied research and / or technology transfer activities (at least 1 year).
  • Marketing skills and knowledge of basic business and Intellectual Property topics.
  • Understanding the industrial sectors related to Music Technology.
  • Fluent in English and Spanish.
  • It is desirable that the candidate has worked outside Spain at least 2 years in the last 3 years.

Interested candidates should send a resume as well as a motivation letter, addressed to Xavier Serra, to mtg-info [at] upf [dot] edu (subject: tech%20transfer%20position) before October 15th.

14 Sep 2016 - 15:32 | view
Participation to VSGAMES 2016

Some prototypes were presented at VSGAMES 2016 - 8th International Conference on Virtual Worlds and Games for Serious Applications by Álvaro Sarasúa and Jordi Janer, members of the MIR-lab@MTG.

These games where developed in the context of the PHENICX project and with the goal of interacting with classical music concerts.

Janer, J., Gómez E., Martorell A., Miron M., & de Wit B. (2016). Immersive Orchestras: audio processing for orchestral music VR content. VSGAMES 2016 - 8th International Conference on Virtual Worlds and Games for Serious Applications. Abstract

Sarasúa, Á., Melenhorst M., Julià C. F., & Gómez E. (2016). Becoming the Maestro - A Game to Enhance Curiosity for Classical Music. 8th International Conference on Virtual Worlds and Games for Serious Applications (VS-Games 2016).


12 Sep 2016 - 09:42 | view