Re: Intermediate representation for music analysis

["Pennington, Mark W" <mwpennin@xxxxxxxxxxx>]

Ilya,

In Chapter 4 of my 2005 dissertation "The Phonetics and Phonology of 
Glottal Manner Features" (pp. 93-96),

http://mypage.iu.edu/~mwpennin/GlottalMannerDiss-Pennington.pdf

I used an auditorily-based filter bank with 330 filters spanning a 
9-octave range 12.69-6501.99 Hz. The minimum separation interval 
between filters on an equally spaced log2 scale is 2**(1/48) octave or 
one-eighth tone. The linear filters are second-order, with their 3-dB 
bandwidths being adjusted to match Glasberg and Moore's 1990 Equivalent 
Rectangular Bandwidths (ERB = 24.7[4.37F + 1], where F is the center 
frequency in kHz). One-eighth tone (1.45%) is on the order of the 
smallest frequency difference limen for the second formant (F2) in 
speech (Kewley-Port and Watson, 1994).

This computationally simple analysis method, or a modification thereof, 
might be useful to you in music as well.

Mark


Quoting Ilya Sedelnikov <ilyas@xxxxxxxxxxxxxx>:

> Dear list,
>
> Does someone aware of works that use filterbanks with more than a couple of
> dosens filters as a front-end for the music analysis ?
>
> Human ear is able to distinguish pitch differences at least twice less than a
> semitone which implies that for the analysis of musical piece that spans 4
> octaves the number of filters should be of the order of couple hundreds.
> Nevertheless front-ends commonly used for music analysis usually use not more
> than couple of dosens of filters (Fourier bins), sometimes even
> non-logarithmically spaced.
>
> I will be glad to hear any opinions on the subject.
> Ilya
>
>
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