Figure 1
Transcription of a Springar tune called Fossekallen (Blom et al., 1979).
Table 1
Tunes recorded by the professional musician (P). The number of notes and the duration of each tune are indicated for the Normal version as well as for the 5 expressive versions altogether.
| Title | Notes | Duration | Time Signature | Bars | ||
|---|---|---|---|---|---|---|
| Normal | All 5 | Normal | All 5 | 1 version | ||
| Fuglesangen | 550 | 2778 | 1:05 | 6:04 | 3/4 | 42 |
| Godvaersdagen | 1121 | 5647 | 2:23 | 14:45 | 3/4 | 98 |
| GroHolto | 657 | 3389 | 1:15 | 7:58 | 3/4 | 51 |
| Klunkelåtten | 513 | 2575 | 0:57 | 5:49 | 3/4 | 37 |
| Kongelåtten | 951 | 4764 | 1:51 | 10:16 | 3/4 | 76 |
| Langaakern | 498 | 2505 | 1:00 | 5:58 | 3/4 | 40 |
| Perigarden | 648 | 3283 | 1:12 | 7:55 | 2/4 | 57 |
| Solmøy | 518 | 2580 | 1:04 | 6:21 | 3/4 | 44 |
| Spretten | 726 | 3576 | 1:22 | 8:12 | 3/8 | 125 |
| Strandaspringar | 707 | 3502 | 1:19 | 7:44 | 3/4 | 56 |
| Tjednbalen | 963 | 4799 | 2:03 | 10:58 | 3/4 | 83 |
| Toingen | 1401 | 7107 | 2:45 | 15:57 | 3/4 | 112 |
| Total | 9428 | 46505 | 18:16 | 107:59 | 821 |
Table 2
Tunes recorded by the students (S1 and S2). The number of notes and the duration of each tune are indicated for the Normal version as well as for the 5 expressive versions altogether.
| Title | Musician | Notes | Duration | ||
|---|---|---|---|---|---|
| Normal | All 5 | Normal | All 5 | ||
| Haslebuskane | S1 | 566 | 2828 | 0:55 | 4:35 |
| Havbrusen | S1 | 823 | 4114 | 1:45 | 8:50 |
| Ivar Jorde | S2 | 334 | 1665 | 0:46 | 3:52 |
| Låtten som bed om noko | S2 | 369 | 1819 | 0:58 | 4:51 |
| Signe Uladalen | S2 | 448 | 2177 | 0:54 | 4:30 |
| Silkjegulen | S1 | 578 | 2906 | 1:09 | 5:38 |
| Valdresspringar | S2 | 331 | 1692 | 0:44 | 3:49 |
| Vossarull | S1 | 504 | 2533 | 1:17 | 6:34 |
| Total | 3953 | 19734 | 8:28 | 42:38 |
Figure 2
Screenshot of the software. In the background, the fundamental of each note is tracked over time and traced in grey, located as MIDI pitch over time in seconds. Note annotations are shown by green lines and beat annotations indicated above the selected notes, left-aligned with the note onset position. For instance the note starting around 51.2 seconds with pitch around 71 is the second beat of bar 34 (34 : 2/3). The screenshot shows the comparison between the beat annotations of P and S1. A misaligned note (missing in one of the annotations) is shown with a red line. Beat annotations common to both annotators are shown in red, while green and blue indicates annotations specific to one or the other annotator.
Figure 3
Schematic realisation of a “two against three” rhythm, spanning two bars, repeated twice.
Figure 4
Klunkelåtten, the start of the tune.
Figure 5
Fuglesangen 00:26 (bar 17) and 00:32 (bar 21).
Figure 6
Solmøy 00:56 (bar 40).
Table 3
Evaluation of the note annotation models on the P dataset, in percentage.
| Model | F1 | Precision | Recall |
|---|---|---|---|
| Logic Pro 10.7 Flex Pitch | 29 | 43 | 22 |
| Celemony Melodyne 5.3.0 | 69 | 82 | 60 |
| ScoreCloud | 81 | 95 | 71 |
| DLL | 82 | 83 | 82 |
| DLL trained on S | 87 | 91 | 83 |
Figure 7
F1 statistics of the evaluation of the following note annotation models, from left (blue) to right (green): Logic Pro 10.7 Flex Pitch, Celemony Melodyne 5.3.0, ScoreCloud and DLL, both its original version and the one trained on the S dataset. The evaluation was made on each separate tune in the P dataset, following the same order as in Table 1, represented here from left to right.
Figure 8
Screenshot of the Annotemus software (cf. Figure 2) comparing the beat annotations of an excerpt of Gro Holto provided by the musician P himself (notes annotated with the red text) with the beat predicted by Madmom 0.16.1 (Böck et al., 2016) (indicated with red vertical lines).
Figure 9
Bar duration, in seconds on the Y axis, along each tune played by P. Each curve corresponds to a different tune, with the bars spanning from left to right, and numbered on the X axis.
Table 4
Beat duration statistics, in milliseconds, on the P dataset, where beats are categorised with respect to their position in bar.
| Beat in bar | 1st | 2nd | 3rd |
|---|---|---|---|
| Mean | 399 | 489 | 512 |
| Standard deviation | 72 | 65 | 51 |
| Mean absolute difference between successive bars | 69 | 71 | 56 |
Figure 10
Histograms of beat duration (expressed as a ratio with respect to bar duration), distinguishing between first (top), second (middle) and third (bottom) beats in each bar.
Figure 11
Duration of the first beat of each successive bar of the tune Godvaersdagen. Beat duration is normalised with respect to bar duration. The second beat onset of bars 27, 31, 35, 76, 80 and 84 being silent, the duration of the first beat for those bars is undefined and thus ignored.