keywordstyle=\color{blue}, % keyword style
showstringspaces=false, % underline spaces within strings only
}
-\title[TELEMETA: A web framework for ethnomusicological archives]{\includegraphics[width=0.4\textwidth]{../img/logo_telemeta_1-1.pdf}}
+\title[TELEMETA: A web framework for ethnomusicological archives]{}%\raisebox{2\height}{\includegraphics[width=0.4\textwidth]{../img/logo_telemeta_1-1.pdf}}
\subtitle{An open-source web framework for ethnomusicological audio archives management and automatic analysis}
\author[Fillon et al.]{\tiny \underline{Thomas Fillon}\inst{1,2}, Joséphine Simonnot\inst{3}, Marie-France Mifune\inst{4}, Stéphanie Khoury\inst{3}, Maxime Le Coz\inst{5}, Guillaume Pellerin\inst{1}, Estelle Amy de La Bretèque\inst{3}, David Doukhan\inst{7}, Dominique Fourer\inst{6}, Jean-Luc Rouas\inst{6}, Julien Pinquier\inst{5}, Julie Mauclair\inst{5}, Claude Barras \inst{7}}
% \includegraphics[width=.3\linewidth]{../img/parisson_logo_FINALE_com.pdf}\hfill
% \includegraphics[width=.18\linewidth]{../img/upmc.png}\hfill
% \end{center}
-\date{{\scriptsize 1st International Digital Libraries for Musicology workshop}
+\date{{\scriptsize 1st International Digital Libraries for Musicology workshop}
\raisebox{-0.5\height}{\includegraphics[width=0.2\textwidth]{dlfm.png}}\\
\footnotesize 12th September 2014, London, UK}
% \tableofcontents[currentsection]
% \end{frame}
% }
-\begin{document}\footnotesize
+\begin{document}%\footnotesize
\begin{frame}[plain]
+ \begin{center}
+ \raisebox{-1cm}{\includegraphics[width=0.4\textwidth]{../img/logo_telemeta_1-1.pdf}}
+ \end{center}
\maketitle
\end{frame}
\begin{frame}
\frametitle{The Telemeta platform}
\begin{block}{A web audio platform}
- \begin{itemize}
- \item The primary purpose of the project is to provide researchers
+
+ The primary purpose of the project is to provide researchers
working on audio materials with a scalable system:
- \begin{itemize}\footnotesize
+ \begin{itemize}
\item to access, preserve and share \alert{sound items} and
\item to access and enrich \alert{associated metadata} that
contains key information on the context and significance of
the recording.
\end{itemize}
- \item Given the temporal nature of such audio-visual materials and
- some associated metadata as annotation, providing an easy and
- on-demand access to these data, while listening to the
- recording, represents a significant improvement for users.
- \end{itemize}
+
+
\end{block}
\begin{block}{An open-source software}
\begin{itemize}
\subsection{Web audio content management features and architecture}
\begin{frame}[label=telemeta_features]{Web audio content management features and architecture}
- \begin{block}{Main features of Telemeta}
+ \begin{block}{Main features of Telemeta}\footnotesize
\begin{itemize}
\item \alert{Pure HTML5} web user interface including dynamic forms.
\item Database management through Strong Structured Query Language (\alert{SQL}) or Oracle backend.
\section[TimeSide]{TimeSide, an audio analysis framework}\label{sec:TimeSide}
\subsection{Audio management}
-\begin{frame}{TimeSide}\tiny
+\begin{frame}{TimeSide}\scriptsize
\begin{block}{An open web audio processing framework}
\begin{itemize}
\item One specificity of the \emph{Telemeta} architecture is to
algorithms together with \alert{web audio} capabilities for displaying
and streaming files.
\end{itemize}
-
-\begin{center}
- \colorbox{yellow!50}{\bf \hskip3ex \url{https://github.com/yomguy/TimeSide/} \hskip3ex }
+\vspace{-0.5cm}\begin{center}
+ \colorbox{yellow!40}{\bf \url{https://github.com/yomguy/TimeSide/} }
\end{center}
\end{block}
\begin{block}{Audio management}
\item Smart dynamic audio player with enhanced visualization (e.g. waveform,
spectrogram) that can be embedded into any html page through \emph{iframe} (live example: \href{http://yomix.org/category/projects.html}{Yomguy blog})
\item Multi-format support: decodes the vast majority of audio and
- video formats through Gstreamer and transcodes them with smart
- streaming and caching methods.
+ video formats% through Gstreamer and transcodes them with smart
+ %streaming and caching methods.
\item On-the-fly audio analysis, transcoding and metadata embedding
based on an easy plugin architecture.
\end{itemize}
\section{Sound archives of the CNRS - Musée de l'Homme}\label{sec:archives-CREM}
\begin{frame}\frametitle{Sound archives of the CNRS - Musée de l'Homme}
- Since June 2011, the Telemeta platform has been used by the Sound archives of the CNRS - Musée de l'Homme\footnote{\url{http://archives.crem-cnrs.fr}} and managed by the CREM. According to the CREM specific aims, the Telemeta platform makes these archives available for researchers, students and (when copyright allows) to a broader audience. Through this platform, these archives can be shared, discussed and analyzed.
+ \begin{block}{}
+ \begin{itemize}
+ \item Since June 2011, the Telemeta platform has been used by
+ the Sound archives of the CNRS - Musée de
+ l'Homme\footnote{\url{http://archives.crem-cnrs.fr}} and
+ managed by the CREM.
+ \item According to the CREM specific aims, the Telemeta
+ platform makes these archives available for researchers,
+ students and (when copyright allows) to a broader audience.
+ \item The Sound archives of the \emph{CNRS - Musée de l'Homme} is one of
+ the most important in Europe and contains commercial and
+ unpublished recordings of music and oral traditions from around
+ the world
+\item Through this platform, these archives can be shared,
+ discussed and analyzed.
+
+
+ \end{itemize}
+ \end{block}
+
\end{frame}
\subsection{ Archiving research materials}
-\begin{frame}{ Archiving research materials}
- \begin{itemize}
- \item The Sound archives of the CNRS - Musée de l'Homme is one of
- the most important in Europe and contains commercial and
- unpublished recordings of music and oral traditions from around
- the world, collected by researchers attached to numerous research
- institutions across the world, including prominent figures of the
- field of ethnomusicology (among which Brailoiu, Lomax, Shaeffner,
- Rouget and Elkin).
-
-
- \item The platform offers access to record collections (nearly 3700
- hours, e.g. more than 5000 discs, many of which are very rare) and
- to 4000 hours of unpublished recordings, from early research
- expeditions (e.g. Dakar-Djibouti (1932), Ogooué-Congo
- (1946)).
- \item Most of the recordings come from the fieldwork of
- researchers in \alert{all continents}.
- \item More than \alert{110 years} of the world's
- oral culture are now available online, from the 1900 Universal
- Exhibition of Paris to recent digital recordings.
- \item The sharing of
- data allows several people to collaborate on the enrichment of the
- database.
- \item Today, 47,200 items are in the database, and more than
- 26,000 sound files have been included (12,000 sounds on free
- access since May 2014).
- \item Recently, the CREM has decided to give
- full access to the records published by the CNRS-Musée de l’Homme
- (Chant du Monde/Harmonia
- Mundi)\footnote{\url{http://archives.crem-cnrs.fr/archives/fonds/CNRSMH_Editions/}},
- the distribution of which stopped ten years ago.
- \item As a web
- platform, this tool is also a way to cross borders, to get local
- populations involved in their own cultural heritage and to offer
- resources to researchers from all over the world.
- \end{itemize}
+\begin{frame}{Archiving research materials}
+ \begin{block}{}%{Content}
+ \begin{itemize}
+ \item The Sound archives of the \emph{CNRS - Musée de l'Homme}
+ have been collected by researchers attached to numerous research
+ institutions across the world, including prominent figures of
+ the field of ethnomusicology (among which Brailoiu, Lomax,
+ Shaeffner, Rouget and Elkin).
+ \item Most of the recordings come from the fieldwork of
+ researchers in \alert{all continents} during the last \alert{110 years}.
+
+
+ \item Nearly \alert{3700 hours of record collections}
+ e.g. more than 5000 discs, many of which are very
+ rare)
+ \item \alert{4000 hours of unpublished recordings}, from early
+ research expeditions (e.g. Dakar-Djibouti (1932), Ogooué-Congo
+ (1946)).
+ \item \alert{47,200 items} containing more than
+ \alert{26,000 sound files} (including 12,000 sounds on free
+ access since May 2014).
+
+
+ %\item Recently, the CREM has decided to give full access to the
+ % records published by the CNRS-Musée de l’Homme (Chant du
+ % Monde/Harmonia
+ % Mundi)\footnote{\url{http://archives.crem-cnrs.fr/archives/fonds/CNRSMH_Editions/}},
+ % the distribution of which stopped ten years ago.
+
+ \end{itemize}
+ \end{block}
\end{frame}
\subsection{Uses and users of digital sound archives}
\begin{frame}{Uses and users of digital sound archives}
- \begin{itemize}
+ \begin{block}{}\normalsize
+\begin{itemize}
+ \item Three main activities: \alert{archiving,
+ research and education}
+ \item Three main disciplines: \alert{Ethnomusicology, Anthropology and Linguistic}
+ \item Primary users of the platform are archivists, researchers, students
+ and professors of these disciplines.
+ \item Nonetheless, a qualitative survey showed that other
+ disciplines (such as Art History) have used the platform.
+ \item When used for education, the platform provides a wide array
+ of teaching materials to illustrate the work of students as well
+ as support teaching curricula.
+ \end{itemize}
+ \end{block}
+
+\end{frame}
+\begin{frame}{Uses and users of digital sound archives}
+ \begin{block}{A collaborative experience}
+ \begin{itemize}
+ \item The sharing of data offer resources to researchers from all over the world and allows several people to \alert{collaborate on the enrichment of the database}.
+ \item Researchers from different institutions can work together on
+ specific audio materials and conduct individual research from
+ both synchronic and diachronic perspectives on their own
+ material, the material of others, or both.
+ \item Users can submit their own archives to protect them.
+
+ \item Furthermore, it facilitates the ethical task of \alert{returning
+ the recorded music to the communities who produced it} and to get local populations involved in their own cultural heritage.
+
+
+ \end{itemize}
+ \end{block}
- \item In the few years since the sound archive platform has been
- released, it has supported three main activities: archiving,
- research and education (both academic and non-academic).
- \item Primary
- users of the platform are archivists, researchers
- (ethnomusicologists, anthropologists and linguists), students and
- professors of these disciplines.
- \item Nonetheless, a qualitative survey
- showed that other disciplines (such as art history) have used the
- platform to foster and/or deepen individual research.
- \item The unexpectedly broad uses of the sound archives emphasize the
- necessity and the benefits of such database.
- \item From the standpoint
- of archive development, the long-term preservation of the archives
- is ensured while, thanks to the collaborative nature of the
- platform, users can cooperate to continuously enrich metadata
- associated with a sound document and submit their own archives to
- protect them.
- \item Furthermore, it facilitates the ethical task of
- returning the recorded music to the communities who produced it.
-
- \item Researchers from different institutions can work together on
- specific audio materials and conduct individual research from both
- synchronic and diachronic perspectives on their own material, the
- material of others, or both.
- \item When used for education, the
- platform provides a wide array of teaching materials to illustrate
- the work of students as well as support teaching curricula.
- \end{itemize}
\end{frame}
\section[The DIADEMS project]{The DIADEMS project}\label{sec:Diadems}
\subsection{Consortium and goals}
\end{columns}
\begin{block}{Development}
- \raisebox{-0.5\height}{\includegraphics[height=0.7cm]{diadems/Parisson_logo.png}}
+ \raisebox{-0.5\height}{\includegraphics[height=0.7cm]{../img/parisson_logo_FINALE_com.pdf}}
\hspace{0.1cm} Parisson, the company involved in the development
of Telemeta.
\end{block}
\end{block}
-
-
-
-
\end{frame}
\begin{frame}{Goals of the DIADEMS project}
-\tiny
\begin{block}{Goals and on-going development}
\begin{itemize}
\item The goal of the DIADEMS project is to develop computer tools
to \emph{automatically} index the recording content directly
- from the audio signal in order to improve access to and
- indexation of this vast ethnomusicological archive.
-
- \end{itemize}
-
- Numerous ethnomusicological recordings contain speech and other
- types of sound that we categorized as sounds from the environment
- (such as rain, biological sounds, engine noise and so on) and
- sounds generated by the recording process (such as sound produced
- by the wind on the microphone or sounds resulting from defects of
- the recording medium). The innovation of this project is to
- automatize the indexation of the audio recordings directly from
- the recorded sound itself. Ongoing work consists of implementing
+ from the audio signal.
+ \item Ongoing work consists of implementing
advanced classification, indexation, segmentation and similarity
- analysis methods dedicated to ethnomusicological sound archives.
- Besides music analysis, such automatic tools also deal with speech
+ analysis methods.
+ \item Besides music analysis, such automatic tools also deal with speech
and other types of sounds classification and segmentation to
enable a more exhaustive annotation of the audio materials.
+ \item Ethnomusicological recordings contain not only music but also speech, environmental noises and noises generated by the recording process that could also be indexed.
+ \end{itemize}
+
+
\end{block}
\end{frame}
\subsection{The method of a new interdisciplinary research}
+\begin{frame}{The method of a new interdisciplinary research}
+ \begin{block}{}
+ \begin{itemize}
+ \item In this research program, groups from different backgrounds
+ are working together.
+ \item The first challenge was to initiate a common interest and a
+ mutual understanding.
+ \item In this process, DIADEMS gave us the opportunity to improve
+ our understanding on the link between the semantics and
+ acoustics of voice production.
+ \end{itemize}
+\end{block}
+ % In preliminary work, we attempted to first define vocal
+ % categories with a particular interest for liminal oral
+ % productions. At the border between speech and song, utterances
+ % such as psalmody or recitation are at the center of an old
+ % debate in ethnomusicology\footnote{A colloquium on liminal
+ % utterances between speech and song will be organized by the
+ % International Council for Traditional Music (ICTM) in May 2015
+ % and hosted by the Centre of research in Ethnomusicology
+ % (CREM). A round table will be dedicated to the presentation of
+ % the main results and findings of the ANR project
+ % DIADEMS}. Gathering specialists from various fields, the DIADEMS
+ % project goes well beyond the usual disciplinary boundaries. Our
+ % aim, through the study of a large range of audio components
+ % (pitch range, syllabic flow, metric, polyphonic and so on) is to
+ % define and characterize the variability of vocal productions,
+ % keeping in mind the semantic aspects. By doing so, we wish to
+ % reduce the traditional gap in academic studies between sounds
+ % and semantics and to develop combined analytical tools for the
+ % study of vocal production\footnote{As an example, research will
+ % be conducted on the recognition of "icons of crying" in lamented
+ % utterances. As defined by Urban in \cite{Urban88}, "icons of
+ % crying" include cry break, voice inhalation, creaky voice and
+ % falsetto vowels.}.
+
+ % One of the goals of the DIADEMS project is also to provide
+ % useful tools for musical analysis such as the detection of
+ % musical instrument families, analysis of musical content (tonal,
+ % metric and rhythmic features), musical similarities and
+ % structure (chorus localisation, musical pattern replication).
+
+
+\end{frame}
+
+
\subsection{Automatic tools for assisting indexation and annotation of audio documents}
\begin{frame}{Automatic tools for assisting indexation and annotation of audio documents}
- \begin{itemize}
- \item Analysis of recording sessions
- \item Analysis of speech and singing voice segments
+ \begin{block}{On-going development}
\begin{itemize}
- \item Speech segmentation with 2 features: 4 Hz modulation energy and entropy modulation
- \item Speech activity detection based on GMM models
+ \item Analysis of recording sessions
+ \item Analysis of speech and singing voice segments through speech
+ activity detection
+ \item Analysis of music segments
+ \begin{itemize}
+ \item Music / Speech segmentation
+ \item Monophony / Polyphony segmentation
+ \item Automatic instrument classification
+ \end{itemize}
\end{itemize}
- \item Analysis of music segments
- \begin{itemize}
- \item Music segmentation with 2 features based on a segmentation algorithm
- \item Monophony / Polyphony segmentation
- \item Automatic instrument classification
+ \end{block}
- \end{itemize}
- \end{itemize}
\end{frame}
\subsection{Evaluation and future improvements}
-\begin{frame}{Evaluation and future improvements}
- At the end of the first step of the project, interesting preliminary
- results have been obtained regarding the detection of start times of
- recording sessions, speech recognition, singing voice recognition
- and musical instrument family classification.
-
- Through collaborative work, ethnomusicologists, ethnolinguists and
- engineers are currently evaluating, correcting and refining the
- implemented tools, with the expectation that these new tools will be
- integrated into the Telemeta platform.
-
- The robustness of these processing is assessed using criteria
- defined by the final users: teachers, students, researchers and
- musicians. Annotation tools, as well as the provided annotations,
- will be integrated in the digitalized database.
-
- Further work on the user interface will enhance the visualization
- experience with time and frequency zooming capabilities, in the hope
- that it will improve the accuracy and the quality of time-segment
- based annotation. One of the remaining goals is to develop tools to
- generate results online and to make use of the capabilities of
- Internet browsers while managing the workflow.
+\begin{frame}{Evaluation and Future improvements}
+ \begin{block}{Development and Evaluations}
+ \begin{itemize}
+ \item At the end of the first step of the project, interesting
+ preliminary results have been obtained regarding the detection
+ of start times of recording sessions, speech recognition,
+ singing voice recognition and musical instrument family
+ classification.
+
+
+ \item Through collaborative work, ethnomusicologists, ethnolinguists
+ and engineers are currently evaluating, correcting and refining
+ the implemented tools, with the expectation that these new tools
+ will be integrated into the Telemeta platform.
+
+
+ \item The robustness of these processing is assessed using criteria
+ defined by the final users: teachers, students, researchers and
+ musicians. Annotation tools, as well as the provided
+ annotations, will be integrated in the digitalized database.
+ \end{itemize}
+ \end{block}
+
+
+ \end{frame}
+ \begin{frame}
+ \begin{block}{}
+ Further work on the user interface will enhance the
+ visualization experience with time and frequency zooming
+ capabilities, in the hope that it will improve the accuracy and
+ the quality of time-segment based annotation. One of the
+ remaining goals is to develop tools to generate results online
+ and to make use of the capabilities of Internet browsers while
+ managing the workflow.
+ \end{block}
+
\end{frame}
\section{Conclusion}
projects / telemeta-doc.git / commitdiff