Abstract. For the majority of Chinese people, Gongchepu, which is the Chinese traditional musical notation, is difficult to understand. Tragically, there are fewer and fewer experts who can read Gongchepu. Our work aims to interpret Gongchepu automatically into western musical notation-staff, which is more easily accepted by the public. The interpretation consists of two parts: pitch interpretation and rhythm interpretation. The pitch interpretation is easily to solve because there is a certain correspondence between the pitch notation of Gongchepu and staff. However, the rhythm notations of Gongchepu cannot be interpreted to the corresponding notations of staff because Gongchepu only denotes ban (strong-beat) and yan (off-beat), and the no...
A preliminary work on symptom name recog-nition from free-text clinical records (FCRs) of traditiona...
This is a supplementary file for an article published in Engaging Students: https://doi.org/10.18061...
Comunicació presentada a: 4th International Digital Libraries for Musicology workshop (DLfM 2017), c...
Gongchepu, one of the widely-used traditional Chinese musical scores, is hard to read due to the imm...
The balance between randomization and regularization is a key and contradictory issue in the develop...
The balance between randomization and regularization is a key and contradictory issue in the develop...
Gongchepu, one of the popular ancient Chinese musical scores, is hard to interpret due to the incomp...
Chinese national pentatonic modes, with five tones of Gong, Shang, Jue, Zhi and Yu as the core, play...
Funding Information: The APC was funded by Open Access Initiative of the University of Bremen and th...
In the early 20th century, Western music culture’s influence on Chinese music culture has radically ...
This paper presents a study on automatic recognition of Chinese folk musical instruments, two method...
XinTianYou, a folk song style from Shannxi province in China, is considered to be a precious traditi...
Rāga forms the melodic framework for most of the music of the Indian subcontinent. Thus automatic ...
National audienceAfter defining its scales and the main relations of consonance since antiquity, Chi...
The Guzheng is a kind of traditional Chinese instruments with diverse playing techniques. Instrument...
A preliminary work on symptom name recog-nition from free-text clinical records (FCRs) of traditiona...
This is a supplementary file for an article published in Engaging Students: https://doi.org/10.18061...
Comunicació presentada a: 4th International Digital Libraries for Musicology workshop (DLfM 2017), c...
Gongchepu, one of the widely-used traditional Chinese musical scores, is hard to read due to the imm...
The balance between randomization and regularization is a key and contradictory issue in the develop...
The balance between randomization and regularization is a key and contradictory issue in the develop...
Gongchepu, one of the popular ancient Chinese musical scores, is hard to interpret due to the incomp...
Chinese national pentatonic modes, with five tones of Gong, Shang, Jue, Zhi and Yu as the core, play...
Funding Information: The APC was funded by Open Access Initiative of the University of Bremen and th...
In the early 20th century, Western music culture’s influence on Chinese music culture has radically ...
This paper presents a study on automatic recognition of Chinese folk musical instruments, two method...
XinTianYou, a folk song style from Shannxi province in China, is considered to be a precious traditi...
Rāga forms the melodic framework for most of the music of the Indian subcontinent. Thus automatic ...
National audienceAfter defining its scales and the main relations of consonance since antiquity, Chi...
The Guzheng is a kind of traditional Chinese instruments with diverse playing techniques. Instrument...
A preliminary work on symptom name recog-nition from free-text clinical records (FCRs) of traditiona...
This is a supplementary file for an article published in Engaging Students: https://doi.org/10.18061...
Comunicació presentada a: 4th International Digital Libraries for Musicology workshop (DLfM 2017), c...