In this appendix, we provide the list of audio examples referenced in the dissertation. All audio files are available online in the following link: http://www.mtg.upf.edu/~jjaner/phd.
In the electronic version, audio examples in the list contain a link to the audio file.


CHAPTER 3


Audio 3.1.

Input voice for the bass guitar synthesis using pitch-2-MIDI.

Audio 3.2.

Bass guitar synthesis with DigitalEar (pitch-2-MIDI transcription) as input.

Audio 3.3.

Bass guitar synthesis with the Instrumentizer prototype.

Audio 3.4.

Bass guitar synthesis using a keyboard MIDI input.

Audio 3.5.

Input voice example used in the transcription example of figure ??.

Audio 3.6.

Simple voice-driven synthesis in PureData, using built-in analysis modules.

Audio 3.7.

Bass guitar synthesis using Physical Modeling. Input voice and synthesis sound.

Audio 3.8.

Bass guitar synthesis using Spectral Morph. Input voice and synthesis.

Audio 3.9.

Clarinet sound example used to observe the pitch contour in figure ??.

Audio 3.10.

Voice example used to observe the pitch contour in figure ??.

Audio 3.11.

Clarinet synthesis experiment. Original clarinet phrase to be imitated.

Audio 3.12.

Clarinet synthesis experiment. Voice input 1.

Audio 3.13.

Clarinet synthesis experiment. Synthesized clarinet 1.

Audio 3.14.

Clarinet synthesis experiment. Voice input 2.

Audio 3.15.

Clarinet synthesis experiment. Synthesized clarinet 2.

Audio 3.16.

Clarinet synthesis experiment. Synthesized clarinet with WX5 input.

Audio 3.17.

Syllabling in music education. Master classes recording (clarinet).

Audio 3.18.

Syllabling in music education. Master classes recording (violin).

Audio 3.19.

Scat it web survey. Example musical phrase to be transcribed.



CHAPTER 4


Audio 4.1.

Loudness variation due to phonetics for the utterance [a-ma].

Audio 4.2.

Pitch variation due to phonetics for the utterance [a-ga].

Audio 4.3.

Voice used in an example of the low-delay phonetic alignment algorithm.

Audio 4.4.

Input male performance, with the same singer used to create the MTG-SVS.

Audio 4.5.

Input male performance. Offline synthesis.

Audio 4.6.

Input male performance. Real-time synthesis.

Audio 4.7.

Input female performance.

Audio 4.8.

Input female performance. Offline synthesis.

Audio 4.9.

Input female performance. Real-time synthesis.

Audio 4.10.

Instrument to singing. Voice input used for singing voice synthesis example.

Audio 4.11.

Instrument to singing. Violin input used for singing voice synthesis example.

Audio 4.12.

Instrument to singing. Piano input used for singing voice synthesis example.

Audio 4.13.

Instrument to singing. Voice-driven singing voice synthesis example.

Audio 4.14.

Instrument to singing. Violin-driven singing voice synthesis example.

Audio 4.15.

Instrument to singing. Piano-driven singing voice synthesis example.

CHAPTER 5


Audio 5.1.

Voice used in an example of the formant tracking algorithm.

Audio 5.2.

Voice used in an example of the formant tracking algorithm.

Audio 5.3.

Voice used in an example of the syllabling segmentation algorithm.

Audio 5.4.

Voice used in an example of the syllabling segmentation algorithm.

Audio 5.5.

Example of breathy voice.

Audio 5.6.

Musical scale sung with normal and breathy phonation.

Audio 5.7.

Voice used in an example for comparing pitch estimation.

CHAPTER 6


Audio 6.1.

Voice to show the micro-variations present in the pitch and loudness analysis.

Audio 6.2.

Phonetic-specific mappings. Staccato voice input.

Audio 6.3.

Phonetic-specific mappings. Staccato violin synthesis.

Audio 6.4.

Phonetic-specific mappings. Legato voice input.

Audio 6.5.

Phonetic-specific mappings. Legato violin synthesis.

Audio 6.6.

Timbre mappings. Input voice.

Audio 6.7.

Timbre mappings. Saxophone sound synthesis without timbre control.

Audio 6.8.

Timbre mappings. Saxophone sound synthesis with timbre control.

Audio 6.9.

Mappings to abstract parameters envelopes. Voice example.

Audio 6.10.

Database file example: a musical phrases with several notes.

Audio 6.11.

Demo 1. Bass guitar synthesis example with voice (left), Bass guitar (right).

Audio 6.12.

Demo 2. Bass guitar synthesis example with accompaniment.

Audio 6.13.

Demo 3. Saxophone synthesis example with voice (left), saxophone (right).

Audio 6.14.

Demo 4. Saxophone synthesis example with accompaniment.

Audio 6.15.

Demo 5. Violin offline synthesis example with voice (left), violin (right).

Audio 6.16.

Demo 6. Violin offline synthesis example with accompaniment.

Audio 6.17.

Perceptual experiment. Bass guitar sound synthesis(proposed mapping)

Audio 6.18.

Perceptual experiment. Bass guitar sound synthesis(Variation 1)

Audio 6.19.

Perceptual experiment. Bass guitar sound synthesis (Variation 2)

Audio 6.20.

Perceptual experiment. Bass guitar sound synthesis(Variation 3)

Audio 6.21.

Perceptual experiment. Sax sound synthesis with DB1(proposed mapping)

Audio 6.22.

Perceptual experiment. Sax sound synthesis with DB1(Variation 1)

Audio 6.23.

Perceptual experiment. Sax sound synthesis with DB2(proposed mapping)

Audio 6.24.

Perceptual experiment. Sax sound synthesis with DB2(Variation 1)