Figure 1
Bambuco example. The downbeat, caudal syncopation and a guitar accompaniment pattern are displayed.
Figure 2
Example of a tiple accompaniment pattern.
Figure 3
Hierarchical relationship between meter, measures (bars), and beats as defined in Western music theory. In both 3/4 and 6/8, the beats are indicated with vertical lines, and the downbeat with a blue arrow.
Table 1
Perceptual study dataset. Selection of bambucos from the ACMUS-MIR dataset. Each segment corresponds to a complete musical idea or phrase taken from the original recording. Due to the superposition of 3/4 and 6/8 meters in these bambucos, tempo annotations for both meters are presented. The date column indicates the recording date. For those tracks for which only an approximate recording date is known, the term circa is used. For other tracks only the recording decade (e.g. 1960s) is known.
| Title | Composer | Tempo 3/4 [bpm] | Tempo 6/8 [bpm] | Duration [sec] | ACMUS-MIR IDs | Date |
|---|---|---|---|---|---|---|
| Mimí | Carlos A. Rosso Manrique | 181 | 121 | 19.4 | rh_0001 | circa 1980 |
| Campanitas de mi pueblo | Luis Uribe Bueno | 154 | 102 | 18.8 | rh_0002 | circa 1970 |
| El espinaluno | Carlos A. Rosso Manrique | 213 | 142 | 16.4 | rh_0003 | circa 1980 |
| El marco de tu ventana | Luis Uribe Bueno | 130 | 89 | 13.9 | rh_0038 | 1960s |
| Baile de ranas | Luis Uribe Bueno | 153 | 102 | 16.5 | rh_0039 | 1960s |
| Bambuco instrumental | Luis Uribe Bueno | 192 | 128 | 15.1 | rh_0067 | 1960s |
| Bambuco instrumental | Luis Uribe Bueno | 195 | 128 | 20.1 | rh_0079 | 1960s |
| Bambuco instrumental | Luis Uribe Bueno | 199 | 132 | 17.0 | rh_0080 | 1960s |
| Bambuco instrumental | Luis Uribe Bueno | 169 | 113 | 25.5 | rh_0100 | 1960s |
| Bochicaniando | Luis Uribe Bueno | 184 | 123 | 25.6 | if_0172 | circa 1998 |
Figure 4
Example transcription of the first two measures of track rh_0067. Conventional music notation and their MIDI representation aligned to the spectrogram is displayed.
Table 2
Trio dataset. The composer, performer and duration of each of the 12 bambucos is presented. Additionally, each bambuco is categorized as either traditional or chamber bambuco. The date column indicates the recording date. For those tracks for which only an approximate recording date is known, the term circa is used. Refer to Table 1 in the Supplementary Material for information on availability of the Trio dataset.
| Title | Composer | Performer | Type | Duration [sec] | Date |
|---|---|---|---|---|---|
| Bambuco en Bm | Adolfo Mejía | Trío Palos y Cuerdas | Chamber | 210 | 2018 |
| Cuadro de bambuco | Samuel Ibarra Conde | Samuel Ibarra Conde | Chamber | 283 | 2019 |
| El parrandista | Peregrino Galindo | Trío Morales Pino | Traditional | 114 | circa 1970 |
| El republicano | Luis A. Calvo | Colectivo la puerta mágica | Traditional | 189 | 2017 |
| Fusagasugueño | Jaime Romero | Trío Joyel | Traditional | 184 | circa 1970 |
| Garrapatica | Germán Darío Pérez | Trío Picaporte | Chamber | 260 | 2016 |
| Gloria Beatriz | León Cardona | Trío instrumental colombiano | Chamber | 261 | 1985 |
| Los doce | Álvaro Romero Sánchez | Trío Morales Pino | Traditional | 143 | circa 1970 |
| Nueva Colombia | Efraín Orozco | Espíritu colombiano | Traditional | 156 | 2000 |
| Pa’ Juancho | Germán Darío Pérez | Trío Palos y Cuerdas | Chamber | 158 | 2001 |
| Pilarica | Aristides Romero | Unknown | Traditional | 174 | circa 1970 |
| Verónica | Gustavo Díez | Trío Agua Dulce | Chamber | 154 | 2012 |
Figure 5
Characterization of factors affecting meter perception in bambucos on the Trio Dataset. Elements in three categories (composition, performance and audio production) were investigated.
Figure 6
Perceived meter aggregated for the 10 tracks and 10 participants in the study. Five distinct meters or meter combinations were observed.
Figure 7
Selection of accompaniment patterns (P) identified in the Trio Dataset for the tiple (left) and the guitar (right). Refer to the Table 2 in the Supplementary Material for the complete list of patterns.
Figure 8
Percentage of bambucos using each compositional element analyzed in the Trio Dataset. In the figure, “Tex.” stands for textures. Given that some elements in the same category (e.g., counterpoint and melody with accompaniment) can appear in the same bambuco segment, the percentages per category do not necessarily add up to 100%.
Figure 9
Percentage of bambucos using each performance element analyzed in the Trio Dataset. In the figure, “Ban.” stands for bandola. Given that some elements in the same category (e.g., ternary subdivision and binary subdivision) can appear in the same bambuco segment, the percentages per category do not necessarily add up to 100%.
Figure 10
Percentage of bambucos using each production element analyzed in the Trio Dataset.
Table 3
Beat tracking evaluation metrics obtained with Madmom and MultiBT. Results are presented using two sets of ground-truths: 3/4 and 6/8. All metrics presented have a maximum score of 100%.
| Algorithm | F1 | AMLc | AMLt | CMLc | CMLt | |
|---|---|---|---|---|---|---|
| 3 | Madmom | 75.06 | 60.76 | 77.05 | 50.89 | 64.27 |
| 4 | MultiBT | 42.79 | 23.32 | 25.24 | 12.43 | 14.33 |
| 6 | Madmom | 41.13 | 9.23 | 10.71 | 5.64 | 5.72 |
| 8 | MultiBT | 45.15 | 42.87 | 51.76 | 32.38 | 35.54 |
Figure 11
Onset detection function extracted using superflux on a segment of track rh_0002. Ground-truth annotations in 3/4 and 6/8 are shown, as well as beat estimations obtained with Madmom and MultiBT.
Table 4
Instrument-specific beat tracking on separated bass tracks, and original mix (denoted -M in italic) for comparison: evaluation metrics obtained with Madmom and MultiBT. Results are presented using 3/4 and 6/8 as ground-truth. All metrics presented have a maximum score of 100%.
| Algorithm | F1 | AMLc | AMLt | CMLc | CMLt | |
|---|---|---|---|---|---|---|
| Madmom | 81.07 | 63.58 | 73.51 | 57.34 | 67.62 | |
| 3 | Madmom-M | 89.56 | 75.41 | 85.34 | 70.55 | 80.49 |
| 4 | MultiBT | 60.65 | 44.27 | 53.52 | 32.59 | 40.53 |
| MultiBT-M | 47.00 | 24.72 | 26.93 | 18.60 | 20.65 | |
| Madmom | 39.88 | 12.08 | 13.40 | 6.54 | 7.47 | |
| 6 | Madmom-M | 44.10 | 10.74 | 10.79 | 9.30 | 9.30 |
| 8 | MultiBT | 32.07 | 19.60 | 25.16 | 9.77 | 11.45 |
| MultiBT-M | 46.58 | 45.82 | 52.00 | 34.26 | 36.12 |
Table 5
Estimation of beat positions in 6/8 from estimations in 3/4: evaluation metrics obtained with MadmomDBN for estimated 6/8 beats. All metrics presented have a maximum score of 100%.
| Algorithm | F1 | AMLc | AMLt | CMLc | CMLt | |
|---|---|---|---|---|---|---|
| 6 8 | MadmomDBN | 92.13 | 88.47 | 91.59 | 88.47 | 91.59 |
Figure 12
Computational rhythm analysis of bambuco rh_0179. Ground-truth annotations in 3/4 and 6/8 are displayed on the waveform. The downbeats are indicated with a “1”. Additionally, the aligned onset detection function (superflux), and the MadmomDBN beat and downbeat activations are displayed as heat maps. It can be seen that for this example the downbeat activation is always higher on beat 3 than on beat 1 of a 3/4 meter (red lines).