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Deep Learning methods achieve state-of-the-art in many tasks, including vocal pitch extraction. However, these methods rely on the availability of pitch track annotations without errors, which are scarce and expensive to obtain for Carnatic Music. Here we identify the tradition-related challenges and propose tailored solutions to generate a novel, large, and open dataset, the Saraga-Carnatic-Melody-Synth (SCMS), comprising audio mixtures and time-aligned vocal pitch annotations. Through a cross-cultural evaluation leveraging this novel dataset, we show improvements in the performance of Deep Learning vocal pitch extraction methods on Indian Art Music recordings. Additional experiments show that the trained models outperform the currently used heuristic-based pitch extraction solutions for the computational melodic analysis of Carnatic Music and that this improvement leads to better results in the musicologically relevant task of repeated melodic pattern discovery when evaluated using expert annotations. The code and annotations are made available for reproducibility. The novel dataset and trained models are also integrated into the Python package compIAM1 which allows them to be used out-of-the-box.

The use of machine learning (ML) approaches to target clinical problems is called to revolutionize clinical decision-making in cardiology. The success of these tools is dependent on the understanding of the intrinsic processes being used during the conventional pathway by which clinicians make decisions. In a parallelism with this pathway, ML can have an impact at four levels: for data acquisition, predominantly by extracting standardized, high-quality information with the smallest possible learning curve; for feature extraction, by discharging healthcare practitioners from performing tedious measurements on raw data; for interpretation, by digesting complex, heterogeneous data in order to augment the understanding of the patient status; and for decision support, by leveraging the previous steps to predict clinical outcomes, response to treatment or to recommend a specific intervention. This paper discusses the state-of-the-art, as well as the current clinical status and challenges associated with the two later tasks of interpretation and decision support, together with the challenges related to the learning process, the auditability/traceability, the system infrastructure and the integration within clinical processes in cardiovascular imaging.

The paper presents how the Analytic Hierarchy Process can be used to select the most suitable combination of new forest roads to build onto a forested area provided that social or ecological aspects are not jeopardized. All important features worth being considered when a new network of forest roads is designed were grouped in three types of criteria, which are benefits, costs and risks. Further, in order to ease the pairwise comparisons between criteria, both benefits and costs have been divided into private and social, while the risks refer to the events that might be triggered or favoured by the construction of new roads, like habitat fragmentation, landslides in case of heavy rainfall during the construction phase or even illegal cuttings. The outcome consists of a series of benefit-cost-and-risk indices and benefit-cost ratios, one for each combination of forest roads, including the status quo. The method has been tested on three combinations of new forest roads already designed for a small forest management unit located in Prahova County, encompassing 838.0 ha of mountainous forest.

The application of artificial intelligence (AI) to music stretches back many decades, and presents numerous unique opportunities for a variety of uses, such as the recommendation of recorded music from massive commercial archives, or the (semi-)automated creation of music. Due to unparalleled access to music data and effective learning algorithms running on high-powered computational hardware, AI is now producing surprising outcomes in a domain fully entrenched in human creativity—not to mention a revenue source around the globe. These developments call for a close inspection of what is occurring, and consideration of how it is changing and can change our relationship with music for better and for worse. This article looks at AI applied to music from two perspectives: copyright law and engineering praxis. It grounds its discussion in the development and use of a specific application of AI in music creation, which raises further and unanticipated questions. Most of the questions collected in this article are open as their answers are not yet clear at this time, but they are nonetheless important to consider as AI technologies develop and are applied more widely to music, not to mention other domains centred on human creativity.

This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distant-microphone setup. To solve these problems, we design context-specific methods such as the refinement of score-following output in order to obtain a more precise alignment. Moreover, we extend a close-microphone separation framework to deal with the distant-microphone orchestral recordings. Then, we propose the first open evaluation dataset in this musical context, including annotations of the notes played by multiple instruments from an orchestral ensemble. The evaluation aims at analyzing the interactions of important parts of the separation framework on the quality of separation. Results show that we are able to align the original score with the audio of the performance and separate the sources corresponding to the instrument sections.