\usepackage[utf8]{inputenc}
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\newcommand{\comment}[1]{\footnote{\color{red} \bf{{#1}}}}
+
+\newcommand{\CREM}{Research Center for Ethnomusicology}
+
+\newcommand{\affCREM}{%
+ \affaddr{CREM, LESC}\\
+ \affaddr{UMR CNRS 7186)}\\
+ \affaddr{MAE, Univ. Paris Ouest Nanterre La Défense}\\
+ \affaddr{Nanterre, France}\\
+}
+
+
%\usepackage{enumitem}
%\setlist{nosep}
%\setlength{\parskip}{0pt}
\email{guillaume@parisson.com}
% 3rd. author
\alignauthor Jos{\'e}phine Simonnot\\
- \affaddr{CREM, LESC}\\
- \affaddr{UMR CNRS 7186}\\
- \affaddr{MAE, Université Paris Ouest}
- \affaddr{Nanterre La Défense}
+ \affCREM
\email{josephine.simonnot@mae.u-paris10.fr}
%
\and % use '\and' if you need 'another row' of author names
% 4th. author
- \alignauthor Marie-France Mifume\\
- \affaddr{MNHM}\\
- \email{mifune@mnhn.fr}
+ \alignauthor Marie-France Mifune\\
+ \affaddr{CNRS-MNHN-Université Paris Diderot-Sorbonne cité}\\
+ \affaddr{UMR 7206 Eco-anthropologie et ethnobiologie}\\
+ \affaddr{Paris, France}\\
+ \email{mifune@mnhn.fr}
% 5th. author
- \alignauthor Auteurs suivants\\
- \affaddr{...}\\
- \affaddr{...}\\
- \email{...}
+\alignauthor Stéphanie Khoury\\
+\affCREM
+\email{stephanie.khoury@mae.u-paris10.fr}
+% 6th. author
+ \alignauthor Maxime Le Coz\\
+ \affaddr{IRIT-UPS}\\
+ \affaddr{118, route de Narbonne}\\
+ \affaddr{31062 TOULOUSE CEDEX 9, France}
+ \email{lecoz@irit.fr}
+%
+\and % use '\and' if you need 'another row' of author names
+% 7th. author
+ \alignauthor Estelle Amy de la Bretèque\\
+\affCREM
+\email{ebreteque@gmail.com}
+%8th. author
+ \alignauthor David Doukhan\\
+ \affaddr{Université Paris-Sud / CNRS-LIMSI}\\
+\affaddr{Orsay, France}
+\email{David.Doukhan@limsi.fr}
+%9th. author
+ \alignauthor Julie Mauclair\\
+ \affaddr{IRIT-UPS}\\
+ \affaddr{118, route de Narbonne}\\
+ \affaddr{31062 TOULOUSE CEDEX 9, France}
+ \email{mauclair@irit.fr}
+}
+% Template for authors
+%\alignauthor Auteurs suivants\\
+% \affaddr{...}\\
+% \affaddr{...}\\
+% \email{...}
% % 6th. author
% \alignauthor Charles Palmer\\
% \affaddr{Palmer Research Laboratories}\\
% \affaddr{8600 Datapoint Drive}\\
% \affaddr{San Antonio, Texas 78229}\\
% \email{cpalmer@prl.com}
-}
+%}
% There's nothing stopping you putting the seventh, eighth, etc.
% author on the opening page (as the 'third row') but we ask,
% for aesthetic reasons that you place these 'additional authors'
% in the \additional authors block, viz.
-%\additionalauthors{Additional authors: John Smith (The Th{\o}rv{\"a}ld Group,
-%email: {\texttt{jsmith@affiliation.org}}) and Julius P.~Kumquat
-%(The Kumquat Consortium, email: {\texttt{jpkumquat@consortium.net}}).}
-% }\thanks{\vspace{0.7cm}}
+\additionalauthors{Additional authors: Claude Barras (Université Paris-Sud / CNRS-LIMSI - Orsay, France - email: {\texttt{claude.barras@limsi.fr}}) and Julien Pinquier (IRIT-UPS - Toulouse, France - email: {\texttt{pinquier@irit.fr}})}
+
%
\maketitle
%
\begin{abstract}
The Archive CNRS-Musée de l’Homme is one of the most important collection of ethnomusicological recordings in Europe.
-Since 2007, ethnomusicologists and engineers have joint their effort to develop a scalable and collaborative web platform for managing and have a better access to these digital sound archives. This platform has been deployed since 2011 and hold the archives of CNRS-Musée de l’Homme managed bythe \emph{Center for Research in Ethnomusicology},.
+Since 2007, ethnomusicologists and engineers have joint their effort to develop a scalable and collaborative web platform for managing and have a better access to these digital sound archives. This platform has been deployed since 2011 and hold the archives of CNRS-Musée de l’Homme managed by the \emph{\CREM}.
This web platform is based on \emph{Telemeta}, an open-source web audio framework dedicated to digital sound archives secure storing, indexing and publishing. It focuses on the enhanced and collaborative user-experience in accessing audio items and their associated metadata and on the possibility for the expert users to further enrich those metadata.
- Telemeta architecture relies on \emph{TimeSide}, an open audio processing framework written in Python which provides decoding, encoding and streaming methods for various formats together with a smart embeddable HTML audio player. TimeSide also includes a set of audio analysis plugins and additionally wraps several audio features extraction libraries to provide automatic annotation, segmentation and musicological analysis.
+ Telemeta architecture relies on \emph{TimeSide}, an open audio processing framework mainly written in Python language which provides decoding, encoding and streaming methods for various formats together with a smart embeddable HTML audio player. TimeSide also includes a set of audio analysis plugins and additionally wraps several audio features extraction libraries to provide automatic annotation, segmentation and musicological analysis.
\end{abstract}
\section{Introduction}\label{sec:intro}
Very large scientific databases in social sciences are increasingly available, and their treatment rises fundamental new questions as well as new research challenges.
-In anthropology, ethnomusicology and linguistics, researchers work on multiple types of multimedia documents such as photos, videos and sound recordings. The need to preserve and to easily access, visualize and annotate such materials is problematic given their diverse formats, sourcesand the increasing quantity of data.
+In anthropology, ethnomusicology and linguistics, researchers work on multiple types of multimedia documents such as photos, videos and sound recordings. The need to preserve and to easily access, visualize and annotate such materials is problematic given their diverse formats, sources and the increasing quantity of data.
%With this in mind, several laboratories\footnote{The Research Center on Ethnomusicology (CREM), the Musical Acoustics Laboratory (LAM, UMR 7190) and the sound archives of the Mediterranean House of Human Sciences (MMHS)} involved in ethnomusicological research have been working together on that issue.
- In the context of ethnomusicological research, the Research Center on Ethnomusicology (CREM) and Parisson, a company specialized in big music data projects, have been developing an innovative, collaborative and interdisciplinary open-source web-based multimedia platform since 2007.
+ In the context of ethnomusicological research, the \CREM (CREM) and Parisson, a company specialized in big music data projects, have been developing an innovative, collaborative and interdisciplinary open-source web-based multimedia platform since 2007.
This platform, \emph{Telemeta} is designed to fit the professional requirements from both sound archivists, researchers and musicians to work together on huge amounts of music data. The first prototype of this platform has been online since 2010 and is now fully operational and used on a daily basis for ethnomusicological studies since 2011.
-The benefit of this collaborative platform for ethnomusicological research is … \cite{Simmonot_IASA_2011, Julien_IASA_2011, Simonnot_ICTM_2014}.
-Recently, an open-source audio analysis framework, TimeSide, has been developed to bring automatic music analysis capabilities to the web platform and thus have turned Telemeta into a complete resource for \emph{Computational Ethnomusicology} \cite{Tzanetakis_2007_JIMS, Gomez_JNMR_2013}.
-%Section~\ref{sec:TimeSide}
+
+Recently, an open-source audio analysis framework, TimeSide, has been developed to bring automatic music analysis capabilities to the web platform and thus have turned Telemeta into a complete resource for \emph{Computational Ethnomusicology} \cite{Tzanetakis_2007_JIMS, Gomez_JNMR_2013}. The section~\ref{sec:TimeSide} focuses on this framework.
+
+The benefits of this collaborative platform for humanities and social sciences research apply to numerous aspects of the field of ethnomusicology, ranging from musical analysis to comparative history and anthropology of music, as well as to the fields of anthropology, linguistic and acoustic. {\color{blue} Some of these benefits have been mentionned in several ethnomusicological publications \cite{Simmonot_IASA_2011, Julien_IASA_2011, Simonnot_ICTM_2014}\comment{TF : Est-ce OK ?}}.
+The current and potential applications of such a platform thus raises the needs and challenges of implementing an online digital tool to support contemporary scientific research.
+
+
\section{The Telemeta platform}\label{sec:Telemeta}
\subsection{Web audio content management features and architecture}
-The primary purpose of the project is to provide the ethnomusicological communities with a scalable system to access, preserve and share audio research materials together with their associated metadata, as these data provide key information on the context and significance of the recording. Telemeta\footnote{http://telemeta.org}, as a free and open source\footnote{Telemeta code is available under the CeCILL Free Software License Agreement}, is a unique scalable web audio platform for backuping, indexing, transcoding, analyzing, sharing and visualizing any digital audio or video file in accordance with open web standards.
+The primary purpose of the project is to provide communities of researchers working on audio materials with a scalable system to access, preserve and share sound items along with associated metadata that provide key information on the context and significance of the recording.
+Telemeta\footnote{http://telemeta.org}, as a free and open source software\footnote{Telemeta code is available under the CeCILL Free Software License Agreement}, is a unique scalable web audio platform for backuping, indexing, transcoding, analyzing, sharing and visualizing any digital audio or video file in accordance with open web standards.
The time-based nature of such audio-visual materials and some associated metadata as annotations raises issues of access and visualization at a large scale. Easy and on demand access to these data, as you listen to the recording, represents a significant improvement.
An overview of the Telemeta's web interface is illustrated in Figure~\ref{fig:Telemeta}.
\begin{figure}
\end{itemize}
Beside database management, the audio support is mainly provided through an external component, TimeSide, which is described in Section~\ref{sec:TimeSide}.
\subsection{Metadata}\label{sec:metadata}
-In addition to the audio data, an efficient and dynamic management of the associated metadata is also required. Consulting metadata provide both an exhaustive access to valuable information about the source of the data and to the related work of peer researchers.
+In addition to the audio data, an efficient and dynamic management of the associated metadata is also necessary. Consulting metadata provide both an exhaustive access to valuable information about the source of the data and to the related work of peer researchers.
Dynamically handling metadata in a collaborative manner optimizes the continuous process of knowledge gathering and enrichment of the materials in the database.
One of the major challenge is thus the standardization of audio and metadata formats with the aim of long-term preservation and usage of the different materials.
The compatibility with other systems is facilitated by the integration of the metadata standards protocols \emph{Dublin Core}\footnote{{Dublin Core} Metadata Initiative, \url{http://dublincore.org/}} and \emph{OAI-PMH} (Open Archives Initiative Protocol for Metadata Harvesting)\footnote{\url{http://www.openarchives.org/pmh/}}.
Metadata include two different kinds of information about the audio item: contextual information and analytical information of the audio content.
\subsubsection{Contextual Information}
-In ethnomusicology, contextual information include information about the location where the recording has been made, the instruments, the population, the title of the musical piece, the cultural elements related to the musical item, the depositor, the collector, the year of the recording and the year of the publication.
- It could also store archive related information\comment{[MM1]je ne comprends pas ce que cela signifie}
- and include related materials in any multimedia format.
-\subsubsection{Analytical information of the audio content?}
-The other type of metadata includes informations about the audio content itself.
-Metadata also consist in temporally-indexed information such as a list of time-coded markers associated with annotations and a list of of time-segments associated with labels. The ontology for those labels is relevant for ethnomusicology (e.g. speech versus singing voice segment, chorus, ...).\comment{[MM2]je ne comprends pas à quoi cela renvoie : à l'annotation automatique?
+In an ethnomusicological framework, contextual information may include details about the location where the recording has been made, the instruments, the population, the title of the musical piece, the cultural elements related to the musical item, the depositor, the collector, the year of the recording and the year of the publication.
+Through the platform, diverse materials related to the archives can be stored, such as iconographies (digitalized pictures, scans of booklet and field notes, and so on), hyperlinks and collectors' biographical information.
+
+\subsubsection{Analytical information on the audio content}
+The second type of metadata includes information about the audio content itself.
+This includes temporally-indexed information such as a list of time-coded markers associated with text annotations and a list of of time-segments associated with labels. The ontology for those labels is relevant for ethnomusicology (e.g. detection of spoken voice versus sang one, chorus, musical instrument categories, and so on)).\comment{[MM2]je ne comprends pas à quoi cela renvoie : à l'annotation automatique?
quelledifférence faites vous entre "annotations" and "labels"?}
-Ethnomusicological researchers and archivists can produce their own annotations and share them with colleagues. These annotations are accessible from the sound archive item web page and are indexed through the database.
+Ethnomusicologists, archivists, as well as anthropologists, linguists and acousticians working on sound documents can create their own annotations and share them with colleagues. These annotations are accessible from the sound archive item web page and are indexed through the database.
It should be noted that annotations and segmentation can also be produce by some automatic signal processing analysis (see Section~\ref{sec:TimeSide}).
\section{TimeSide, an audio analysis framework}\label{sec:TimeSide}
One specificity of the Telemeta architecture is to rely on an external component, TimeSide\footnote{\url{https://github.com/yomguy/TimeSide}}, that offers audio player web integration together with audio signal processing analysis capabilities.
As a open-source framework and given its architecture and the flexibility provided by Python, the implementation of any audio and music analysis algorithm can be consider. Thus, it makes it a very convenient framework for researchers in computational ethnomusicology to develop and evaluate their algorithms.
Given the extracted features, every sound item in a given collection can be automatically analyzed. The results of this analysis can be stored in a scientific file format like Numpy and HDF5, exported to sound visualization and annotation softwares like sonic visualizer \cite{cannam2006sonic},or serialized to the web browser through common markup languages: XML, JSON and YAML.
+
+
+\section{Sound archives of the CNRS - Musée de l'Homme}\label{sec:archives-CREM}
+Since June 2011, the Telemeta platform is used by the \emph{Sound archives of the CNRS - Musée de l'Homme}\footnote{\url{http://archives.crem-cnrs.fr}} and managed by the CREM (\CREM). According to the CREM specific aims, the Telemeta platform makes these archives available for researchers, students and, when copyright allows it, to a broader audience. Through this platform, these archives can be shared, discussed and worked on.
+
+\subsection{Archiving research materials}
+The Sound archives of the CNRS - Musée de l'Homme is one of the most important in Europe and gather commercial as well as unpublished recordings of music and oral traditions from around the world, collected by researchers attached to numerous research institutions across the world, among which some prominent figures of the field of ethnomusicology (among which Brailoiu, Lomax, Shaeffner, Rouget and Elkin).
+
+The platform offers access to records collection (nearly 3700 hours, e.g. more than 5000 discs, many of which are very rare) and to 4000 hours of unpublished recordings, as early expeditions (e.g. Dakar-Djibouti (1932), Ogooué-Congo (1946)). Most of the recordings comes from the fieldwork of researchers in all the continents.
+More than 110 years of the world's oral culture are now available online, from the 1900 Universal Exhibition of Paris up to the recent digital recordings. The sharing of data allows many people to collaborate to the enrichment of the database. Today, 47,200 items are in the database, and more than 26,000 sound files have been included (12 000 sounds on free access in Mai 2014). 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/}} which distribution stopped ten years ago.
+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.
+
+\subsection{Uses and users of digital sound archives}
+ Through the few years since the sound archive platform had been released, it appears to support three main activities: archive, research and education (academic or not). These usages are those of archivists, researchers (ethnomusicologists, anthropologists and linguists), students and professors of these disciplines. Nontheless, a qualitative survey showed that other disciplines (such as art history) found some use of the platform to foster and/or deepen individual research. The unexpectedly broad uses of the sound archives once digitalised and accessible emphasise the necessity and the benefits of such database.
+From an archive stand, 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 to a sound document and submit their own archives to protect them. Furthermore, it allows fulfilling the ethical task of returning the recorded music to the communities who produced it.
+Researchers from different institutions can work together on specific audio materials as well as conduct individual research in both synchronic and diachronic perspective, on their own material, others’ material or both.
+When use for education, the platform provides a wide array of teaching material to illustrate students’ work as well as support teaching curricula.\comment{TF : On ne parle plus d'Europeana ? }
+%Thanks to this tool, the Archives on CNRS-Musée de l'Homme contribute to "Europeana sounds", a sound portal for the digital library on line "Europeana":www.europeanasounds.eu
+
+
+\section{Expanding development: the DIADEMS project}
+
+The goals and expectations of the platform are of many kinds and expand through time, as users experience new ways to work with the archives database and request new tools to broaden the scope of their research activities linked to it. The reflexion collectively engaged by engineers and researchers on the use of the sound archives database led us to set up a large scale project called DIADEMS (\emph{Description, Indexation, Access to Ethnomusicological and Sound Documents}).
+%DIADEMS is a French national research program, started in January 2013, with three IT research labs (IRIT\footnote{Institut de Recherche en Informatique de Toulouse}, , , LIMSI\footnote{Laboratoire d’Informatique pour la Mécanique et les Sciences de l’Ingénieur}, LABRI\footnote{Laboratoire Bordelais de Recherche en Informatique})\comment{TF: + LAM + labo ethno + Parisson. Plutôt dire a collaboration between ethno + IT}
+Started in January 2013, the French national research program DIADEMS is a multi-disciplinary program whose consortium includes research laboratories from both\emph{ Science and Technology of Information and Communication}\footnote{IRIT(Institute of research in computing science of Toulouse), LABRI(Bordeaux laboratory of research in computer science), LIMSI(Laboratory of computing and mechanics for engineering sciences), LAM (String instruments - Acoustic - Music, Institute of Jean Le Rond d'Alembert)} domain and \emph{Musicology and Ethnomusicology}\footnote{LESC (Laboratory of Ethnology and Comparative Sociology), MNHM (National Museum of Natural History)} domain and Parisson, a company involved in the development of Telemeta..
+
+The goal of Diadems project\footnote{\url{http://www.irit.fr/recherches/SAMOVA/DIADEMS/en/welcome/}} is to propose a set of tools for automatic analysis of audio documents which may contain fields recordings: speech, singing voice, instrumental music, technical noises, natural sounds, etc. The innovation is to automatize the indexation of audio recordings directly from the audio signal itself, in order to improve the access and indexation of anthropological archives. Ongoing works consist in implementing advanced classification, segmentation and similarity analysis methods, specially suitable to ethnomusicological sound archives. The aim is also to propose tools to analyse musical components and musical structure.
+
+\subsection{The method of a new interdisciplinary research}
+
+In this research program, groups from different backgrounds are working together to specify the automatic analysis tools : IT developers, humanities researchers (anthropologists, ethnomusicologists, ethnolinguists) , and specialists on speech and Music Information Retrieval (MIR) . The first challenge was to initiate a common interest and a mutual understanding. In this process, DIADEMS gave us the opportunity to improve our understanding on the link between the semantics and acoustics of voice production. As a prelimirary work we attempted to 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 organised 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, 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 acpects. By doing so, we wish to overcross the traditional separation in academic studies between sounds and semantics and to propose 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.}.
+
+The study follow three steps :
+\begin{enumerate}
+\item The development of tools and selection of a representative corpus
+ for each tool,
+\item The evaluation of the proposed automatic analysis, in addition to
+ the man-led (human) evaluations carried on the corpus selected,
+\item The development of a visual interface with an ergonomic access and
+ import of the results in the database.
+\end{enumerate}
\subsection{Automatic Analysis of ethnomusicological sound archives}
The goal of Diadems project (adresse web) is to develop computer tools to automatically index the recording content directly from the audio signal to improve the access and indexation of this vast ethnomusicological archive. The innovation of this project is to automatize the indexation of the audio recordings directly from their content, from the recorded sound itself.
Ongoing works consist in implementing advanced classification, indexation, segmentation and similarity analysis methods dedicated to ethnomusicological sound archives.
-numerous ethnomusicological recordings contain speech and other types of sounds that we categorized as sounds from the environment (such as rain, insect or animal sounds, engine noise…) and sounds generated by the recording (such as sound produced by the wind in the microphone or sounds resulting from the defect of the recording medium).
+numerous ethnomusicological recordings contain speech and other types of sounds that we categorized as sounds from the environment (such as rain, insect or animal sounds, engine noise, ...) and sounds generated by the recording (such as sound produced by the wind in the microphone or sounds resulting from the defect of the recording medium).
Besides music analysis, such automatic tools also deal with speech and other types of sounds classification and segmentation to enable a most exhaustive annotation of the audio materials.
Automatic analysis of ethnomusicological sound archives is considered as a challeging task.
Field recordings generally contain more sound sources, noise, and recording artefacts than those obtained in studio conditions.
In the context of this project, both researchers from Ethnomusicological, Speech and Music Information Retrieval communities are working together to specify the tasks to be addressed by automatic analysis tools.
+\subsection{The tools for assisting indexation and annotation of audio documents}
+At first, a primary component annotation in Speech, Music and Singing Voice is consolidated. Speech and music detection is generally studied in rather different contexts – usually broadcast data. The diversity of available recordings implies the introduction of new acoustic features and a priori knowledge coming from content descriptions. Singing voice detection is emerging and a genuine research effort is needed. Exploiting the complementarity of the three approaches – speech, music, singing voice – will provide robust means to detect other components, such as speech, speech over music, overlap speech, instrumental music, a cappella voice, singing voice with music, etc.
-\section{Sound archives of the CNRS - Musée de l'Homme}\label{sec:archives-CREM}
-Since June 2011, the Telemeta platform has been deployed to hold the \emph{Sound archives of the CNRS - Musée de l'Homme}\footnote{\url{http://archives.crem-cnrs.fr}} and is managed by the CREM (Center for Research in Ethnomusicology).
-The platform aims to make these archives available to researchers and to the extent possible, the public, in compliance with the intellectual and moral rights of musicians and collectors.
-\subsection{Archiving research materials}
-The archives of CNRS-Musée de l’Homme, one of the most important in Europe, are distinguished by their richness:
+\paragraph{Analysis of recordings sessions}
\begin{itemize}
-\item Nearly 4 000 hours of unpublished recordings,
+\item Detection of start and stop of the magnetic recorder
+\item Detection of start and stop of the mecanic recorder
+\item Detection of start and stop of the digital recorder
+\end{itemize}
+\paragraph{Analysis of speech and singing voice segments}
+\begin{itemize}
+\item Speech detection in a recording with music and speech
+ alternation
+\item Speech detection in a recording with one speaker and group of
+ speaker
+\item Speech detection in a recording with speaker and music mixed
+\item Segmentation in speaker turns for speech or singing voice
+\item Analysis of the syllabic flow and the prosody of the speech in a
+ ritual context
+\item Detection of speakers overlap
+\item Detection of other categories of speaking voice: recitation,
+ told, psalmody, back channel…
+\end{itemize}
+
+\begin{figure}
+ \centering
+
+ \caption{Detection of spoken voices in a song}
+ \label{fig:speech_detection}
+\end{figure}
+
+\paragraph{Analysis of music segments}
+
+DIADEMS wishes to provide useful tools for musical analysis musicologists and music teachers:
+\begin{itemize}
+\item Detection of instrumental music
+\item Analysis of musical information (tonal, metric and rhythmic
+ features)
+\item Musical excerpts characterisation using similarity measures
+ (melody, harmony, rhythm,)
+\item Navigation inside a document using a structural analysis (chorus
+ localisation, musical pattern replications)
+\item Musical instrument family recognition
+\end{itemize}
+
+\subsection{Firsts results}
+
+Some tools implemented are being evaluated by ethnomusicologist and ethnolinguists and we have already interesting results:
+
+\begin{itemize}
+\item Sessions recordings
+\item Speech recognition
+\item Singing voice recognition
\end{itemize}
-The platform offers access to records collection (nearly 3700 hours, e.g. more than 5000 discs, many of which are very rare) and to 4000 hours of unpublished recordings, as early expeditions (e.g. Dakar-Djibouti (1932), Ogooué-Congo (1946), etc.). Most of the recordings comes from the fieldwork of researchers in all the continents.
-More than 110 years of the world's oral culture are now available online, from the 1900 Universal Exhibition of Paris up to the recent digital recordings. The sharing of data allows many people to collaborate to the enrichment of the database. Today, 47,200 items are in the database, and more than 26,000 sound files have been included (12 000 sounds on free access in Mai 2014). Recently, the CREM has decided to give full access to the records published by the CNRS-Musée de l’Homme\footnote{\url{http://archives.crem-cnrs.fr/archives/fonds/CNRSMH_Editions/}}, and most of them are now online, even though the editor (Chant du Monde/Harmonia Mundi) stopped distribution ten years ago.
-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. Today, the website receives 5 000 visits a month, which 50% from foreign countries.
-
-Through this platform, archivists can properly ensure the long-term preservation thanks to the interoperability of the metadata and the sound standards used.
-This platform provide new possibilities for the preparation of new fieldwork, for teaching and for research. The new tools developed allow diachronic and synchronic comparisons studies..
-Publishing collections also helps researchers making their work more visible. Besides making available and listenable the related sound item corpora\comment{[MM3] ???} , researchers can also provide related academic publications and temporary annotations to further illustrate their work.
-Thanks to this tool, the Archives on CNRS-Musée de l'Homme contribute to "Europeana sounds", a sound portal for the digital library on line "Europeana":www.europeanasounds.eu
-\subsection{A collaborative platform}
-Given the collaborative nature of the platform, both research and archivist can cooperate with colleagues to continuously enrich metadata associated to a sound item or a collection.
-Collaborative tools like markers and comments enable researchers from different institutions to work together on common audio materials.
-It also allows researchers to return data online to communities producing their music in their home countries and also share informations together.
-\section{The DIADEMS project}
+
+
+
+
+\begin{figure}
+ \centering
+ \caption{Detection solo and duo parts}
+\end{figure}
+
+
+The tools implemented not only detect the four musical instrument families (cordophones, aerophones, idiophones, membranophones), but also refine subdivisions related to the playing techniques, identifying whether each instrument is blowed, bowed, plucked, struck or clincked.
+\begin{figure}
+ \centering
+ \includegraphics[width=0.9\linewidth]{img/taxonomie_diadems.pdf}
+ \caption{Musical instrument families}
+ \label{fig:instruments}
+\end{figure}
+
+The robustness of all these processing are assessed using criteria defined by the final users: teachers, students, researchers or musicians. Annotation tools, as well as the provided annotations, will be integrated in the digitalized database. Results visualised thanks to the Telemeta platform will be evaluated by the humanities community involved, through a collaborative work on line. One of the issues is to develop tools to generate results on line with the server processor, according to the capacities of the internet navigators. An other challenge is to manage the workflow, according to the users' expectations about their annotations. The validated tools will be integrated with a new design in the platform Telemeta.
\subsection{Automatic segmentation}
\begin{itemize}
-
\item Speech segmentation, with 2 features: 4 Hz modulation energy and entropy modulation.
Speech signal has a characteristic energy modulation peak around the 4 Hertz syllabic rate \cite{Houtgast1985}. In order to model this property, the signal is filtered with a FIR band pass filter, centred on 4 Hertz.
Entropy modulation is dedicated to identify speech from music~\cite{Pinquier2003}. We first evaluate the signal entropy ($H=\sum_{i=1}^{k}-p_ilog_2p_i$, with $p_i=$proba. of event~$i$). This measure is used to compute the entropy modulation on one segment. Entropy modulation is higher for speech than for music.
The platform has been deployed since 2011 to manage the \emph{Sound archives of the CNRS - Musée de l'Homme} which is the most important european collection of ethnomusicocological resources.
Furthermore, this platform is offered automatic music analysis capabilities through an external component, TimeSide that provides a flexible computational analysis engine together with web serialization and visualization capabilities. As an open-source framework TimeSide could be an appropriate platform for researchers in computational ethnomusicology to develop and evaluate their algorithms
Further works on the user interface will enhance the visualization experience with time and frequency zooming capabilities and will thus improve the accuracy and the quality of time-segment base annotations.
-\section*{Acknowledgments}
-{\small The authors would like to thank all the people that have been involved in Telemeta specification and development or have provide useful input and feedback.
-The project has been partially funded by the French National Centre for Scientific Research (CNRS), the French Ministry of Culture and Communication, the TGE Adonis Consortium, and the Centre of Research in Ethnomusicology (CREM).}
-%\bibliographystyle{plainnat}
+\section{Acknowledgments}
+The authors would like to thank all the people that have been involved in Telemeta specification and development or have provide useful input and feedback.
+The project has been partially funded by the French National Centre for Scientific Research (CNRS), the French Ministry of Culture and Communication, the TGE Adonis Consortium, and the Centre of Research in Ethnomusicology (CREM).
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