Uruguayan candombe drumming - beat and downbeat tracking data set

Uruguayan Candombe drumming - beat and downbeat data set

===========Description===========

This dataset includes more than 2 hours of Candombe recordings, with annotated beats and downbeats. It features 35 complete performances by renowned players, playing in groups of three to five drums. A total of 26 tambor players from various generations took part, representing the three key traditional Candombe styles. These recordings were created in a studio setting over a period of more than two decades as part of musicological research. The sessions from 1992 and 1995 were produced by Luis Jure, and the session from 2014 was produced by Luis Jure and Martín Rocamora.

The audio files are in stereo with a sampling rate of 44.1 kHz and 16-bit precision. An expert annotated the location of beats and downbeats, totaling more than 4700 downbeats. The audio is provided in flac format and the annotations are in .csv files. The values in the first column of the CSV file represent the time instants of the beats. The numbers in the second column indicate both the bar number and the beat number within the bar. For example, 1.1, 1.2, 1.3, and 1.4 represent the four beats of the first bar. Therefore, each label ending in .1 indicates a downbeat. Another set of annotations is provided as .beats files in which the bar numbers are removed.

========Citation========

This dataset was released with the publication of the following paper. So if you find the dataset useful and want to reference it in your publications, please cite it.

"Beat and Downbeat Tracking Based on Rhythmic Patterns Applied to the Uruguayan Candombe Drumming”. Leonardo Nunes, Martín Rocamora, Luis Jure, Luiz W. P. Biscainho. Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR 2015), pages 264-270, Málaga, Spain, 26-30 October, 2015.

@inproceedings{Nunes2015,    author = {Leonardo Nunes and Martín Rocamora and Luis Jure and Luiz W. P. Biscainho},    title = {{Beat and Downbeat Tracking Based on Rhythmic Patterns Applied to the Uruguayan Candombe Drumming}},    booktitle = {Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR 2015)},    month = {Oct.},    address = {Málaga, Spain},    pages = {264--270},    year = {2015}}

========Candombe========

Candombe is a vital part of Uruguayan popular culture, with thousands of practitioners and its rhythm influencing various genres of popular music. In 2009, UNESCO recognized it as part of the Intangible Cultural Heritage of Humanity. While it originated in Uruguay, Candombe has its roots in the culture brought by African slaves in the 18th century. Over time, it has evolved to incorporate the descendants of European immigrants and has become a part of the entire society. Candombe drumming, with its unique rhythm, is the essential element of this tradition, which also includes dancing, symbolic characters, and costumes.

The drum used in Candombe is called tambor, which is Spanish for "drum." There are three different sizes: chico (small), repique (medium), and piano (big). Each size has its own unique sound, ranging from high to low frequency, and its own specific rhythmic patterns. All three drums are played with a stick in the dominant hand and the other one hitting the skin directly. The stick is also used to hit the shell when playing the clave or madera pattern. A minimal ensemble of drums (cuerda de tambores) must have at least one of each of the three drums. During a llamada de tambores, the ensemble usually consists of around 20 to 60 drums. When marching, the players walk forward with short steps synchronized with the beat, which is important for embodying the rhythm, even though it is not audible.

===============Acknowledgments===============

This work was partially supported by the funding agency Comisión Sectorial de Investigación Científica, Universidad de la República, Uruguay, and by the Department of Culture of the Municipality of Montevideo.

This is the complete list of performers, in alphabetical order: Mariano Barroso, Eduardo 'Cacho' Giménez, Eduardo 'Malumba' Giménez, Francisco Giménez, José Luis Giménez, Jorge 'Foqué' Gómez, José Pedro 'Perico' Gularte, Luis 'Pocholo' Maciel, Julio Magariños, Raúl 'Neno' Magariños, Marcelo Magariños, Javier 'Cerdo' Martirena, Wilson Martirena, Eduardo 'Tierra' Nilo, Sergio Ortuño, Fernando 'Lobo' Núñez, Edinson 'Palo' Oviedo, Gustavo Oviedo, Egdardo Pintos, Luis 'Mocambo' Quiroz, Rodolfo 'Pelado' Rodríguez, Fernando 'Hurón' Silva, Juan Silva, Raúl Silva, Waldemar 'Cachila' Silva, and Héctor Manuel Suárez.

乌拉圭康东贝鼓乐——节拍与强拍数据集

===========数据集描述===========

本数据集包含时长超2小时的康东贝（Candombe）录音，附带经标注的节拍与强拍。数据集收录35组完整演奏，均由知名演奏家以3至5人的鼓组完成。共有来自不同代际的26名坦博尔（tambor，鼓）演奏者参与，涵盖康东贝三大核心传统风格。

所有录音均为音乐学研究所需，于二十余年的时间跨度内于专业录音室录制。其中1992年与1995年的录音由路易斯·胡雷（Luis Jure）制作，2014年的录音则由路易斯·胡雷与马丁·罗卡莫拉（Martín Rocamora）联合制作。

音频文件采用立体声格式，采样率为44.1 kHz，位深16比特。由音乐专家标注了节拍与强拍的时间位置，总计标注强拍超4700个。音频以FLAC格式提供，标注文件则采用CSV格式。CSV文件的第一列代表节拍的时间戳，第二列的数值同时包含小节编号与小节内的拍号。例如，1.1、1.2、1.3与1.4分别代表第一小节的四拍，因此所有以.1结尾的标签即为强拍。另有一组标注文件采用.beats格式，该格式移除了小节编号信息。

===========引用说明===========

本数据集随以下论文一同发布。若您认为该数据集对研究有所助益并希望在出版物中引用，请参考如下信息：

《基于节奏模式的节拍与强拍追踪技术在乌拉圭康东贝鼓乐中的应用》，作者：莱昂纳多·努涅斯（Leonardo Nunes）、马丁·罗卡莫拉、路易斯·胡雷、路易斯·W·P·比斯卡尼奥（Luiz W. P. Biscainho），收录于第16届国际音乐信息检索学会会议（ISMIR 2015）论文集，页码264-270，西班牙马拉加，2015年10月26日至30日。

附BibTeX引用格式如下：
@inproceedings{Nunes2015,    author = {Leonardo Nunes and Martín Rocamora and Luis Jure and Luiz W. P. Biscainho},    title = {{Beat and Downbeat Tracking Based on Rhythmic Patterns Applied to the Uruguayan Candombe Drumming}},    booktitle = {Proceedings of the 16th International Society for Music Information Retrieval Conference (ISMIR 2015)},    month = {Oct.},    address = {Málaga, Spain},    pages = {264--270},    year = {2015}}

===========康东贝介绍===========

康东贝（Candombe）是乌拉圭流行文化的核心组成部分，拥有数千名从业者，其节奏对诸多流行音乐流派均产生了深远影响。2009年，联合国教科文组织将康东贝列入人类非物质文化遗产名录。康东贝起源于乌拉圭，其文化根源可追溯至18世纪非洲奴隶带来的传统。随着时代发展，该艺术形式融入了欧洲移民后裔的文化元素，现已成为乌拉圭全社会共享的文化财富。康东贝鼓乐以其独特节奏为核心，该传统还涵盖舞蹈、象征性角色与服饰等内容。

康东贝所用的鼓称为坦博尔（tambor，西班牙语中意为“鼓”），共有三种尺寸规格：奇科（chico，小鼓）、雷皮克（repique，中鼓）与皮亚诺（piano，大鼓）。各尺寸的鼓拥有独特音色，音域覆盖从高频到低频的完整区间，且各自配有专属的节奏型。演奏时，演奏者以主手持鼓槌，另一只手直接击打鼓皮。在演奏clave（clave）或madera（madera）节奏型时，鼓槌还可敲击鼓壳。最小编制的鼓组（cuerda de tambores）必须包含三种尺寸的鼓各至少一件。在“llamada de tambores”（鼓乐召集活动）中，鼓组通常包含20至60面鼓。行进演奏时，演奏者以同步的小步向前行进，这一动作虽无法被听觉感知，却对精准体现节奏内核至关重要。

===========致谢===========

本研究部分得到乌拉圭共和国大学科学研究部门委员会（Comisión Sectorial de Investigación Científica, Universidad de la República, Uruguay）以及蒙得维的亚市文化局的资助。

完整演奏者名单（按字母顺序排列）：马里亚诺·巴罗索（Mariano Barroso）、爱德华多·“卡乔”·希梅内斯（Eduardo 'Cacho' Giménez）、爱德华多·“马伦巴”·希梅内斯（Eduardo 'Malumba' Giménez）、弗朗西斯科·希梅内斯（Francisco Giménez）、何塞·路易斯·希梅内斯（José Luis Giménez）、豪尔赫·“福克”·戈麦斯（Jorge 'Foqué' Gómez）、何塞·佩德罗·“佩里科”·古拉尔特（José Pedro 'Perico' Gularte）、路易斯·“波乔洛”·马西埃尔（Luis 'Pocholo' Maciel）、胡里奥·马加里尼奥（Julio Magariños）、劳尔·“内诺”·马加里尼奥（Raúl 'Neno' Magariños）、马塞洛·马加里尼奥（Marcelo Magariños）、哈维尔·“塞多”·马尔蒂雷纳（Javier 'Cerdo' Martirena）、威尔逊·马尔蒂雷纳（Wilson Martirena）、爱德华多·“蒂埃拉”·尼洛（Eduardo 'Tierra' Nilo）、塞尔吉奥·奥图尼奥（Sergio Ortuño）、费尔南多·“洛沃”·努涅斯（Fernando 'Lobo' Núñez）、埃德森·“帕洛”·奥维耶多（Edinson 'Palo' Oviedo）、古斯塔沃·奥维耶多（Gustavo Oviedo）、埃格达尔多·平托斯（Egdardo Pintos）、路易斯·“莫坎博”·基罗斯（Luis 'Mocambo' Quiroz）、鲁道夫·“佩拉多”·罗德里格斯（Rodolfo 'Pelado' Rodríguez）、费尔南多·“乌龙”·席尔瓦（Fernando 'Hurón' Silva）、胡安·席尔瓦（Juan Silva）、劳尔·席尔瓦（Raúl Silva）、瓦尔德马尔·“卡奇拉”·席尔瓦（Waldemar 'Cachila' Silva）与埃克托尔·曼努埃尔·苏亚雷斯（Héctor Manuel Suárez）