Jingju a Cappella Recordings Collection

Name: Jingju a Cappella Recordings Collection
Creator: Zenodo
Published: 2022-05-11T16:55:51+08:00

Zenodo2022-05-13 更新2026-05-25 收录

数据链接：

https://zenodo.org/record/6536490 数据链接链接失效反馈

官方服务：

资源简介：

The Jingju a Cappella Recordings Collection (JaCRC) is part of the Jingju Music Corpus created in the CompMusic project at the Music Technology Group, Universitat Pompeu Fabra, Barcelona (MTG). The JaCRC was created for different research tasks, mostly concerning melodic characteristics of jingju arias and pronunciation in jingju, and parts of the collection have been used in several publications. The JaCRC contains 314 recordings of jingju a cappella singing, plus 76 recordings of the jinghu accompaniment for their corresponding vocal tracks. Except for 53 of them (see CONTENT below), all of the recordings were newly created for this collection. The JaCRC also contains the manual segmentation of 217 vocal recordings and lyrics files for 156, 67 of which include annotations for start and end of each lyrics line in a related music score (see the README file). The dataset is released under a Creative Commons license (see LICENSE below). The content of the JaCRC was previously published in three different parts (part 1, part 2, part 3). This new release puts all the data together under an unified structure in order to ease its usability. CONTENT The main body of the JaCRC are 239 a cappella recordings of jingju arias. Among those, the main contribution of the collection are the 186 newly created a cappella recordings by professional or semi-professional actors. Some of the recordings contain incomplete arias because the performer decided to stop according to their own will. The aria is then completed in subsequent recording(s). In few occasions, the performer decided to record a second version of the same aria. Both versions are included in the collection. The performers for 76 of these recordings sung over a jinghu accompaniment played live in a different room. These accompaniments were also recorded and added to the JaCRC. To complement the collection, recordings from existing sources were also integrated to the JaCRC. 15 a cappella recordings were obtained from commercial releases by subtracting the instrumental accompaniment, published in separate tracks to be used as accompaniment by amateur singers, from the mixed track. These recordings are not included in the JaCRC for copyright issues, but can be shared for research purposes only (see CONTACT below). However, the metadata and the segmentation files for these 15 recordings have been included in the JaCRC. Besides, 53 a cappella jingju recordings from Singing Voice Audio Dataset were included here with permission of their authors (see LICENSE and USE below). With the goal of developing technologies to aid learning of jingju singing, 75 recordings were created from amateur performers, both children and adults. These amateur performers, considered as ‘students,’ sung trying to imitate a reference model, considered as ‘teacher.’ The ‘teacher’ would be either present in the session, and their performances were also recorded, or an existing recording of the JaCRC was played as model. The 16 recordings of the teachers are part of the JaCRC and the anonymized recordings of the students are included in the JaCRC. All the artists recorded for the JaCRC manifested their written consent to the MTG for the public release of these recordings under Creative Common license. In order to be used for different research tasks, 142 recordings were manually segmented to the phrase and syllable level. Among these, 81 recordings, including those 16 ones used as ‘teacher’ recordings, were further segmented to the phoneme level. All ‘student’ recordings were also segmented to the phrase, syllable and phoneme level. These segmentations are included in the JaCRC as Praat TextGrid files. For 156 recordings there are corresponding csv files containing the lyrics performed in the recording, one line per row. Among these, 67 csv files also contain annotations for the boundaries of each lyrics line in a related music score. The boundaries are annotated as offset according to the music21 toolkit. The related music scores can be found in the Jingju Music Scores Collection with the same name as the one annotated in the csv files. COVERAGE As part of the Jingju Music Corpus, the JaCRC was gathered with the purpose of studying the most representative characteristics of jingju vocal music, and therefore the most representative instances of the main elements of jingju vocal music, that is, role type, shengqiang and banshi, are well covered in the collection. Below some statistics about the coverage of these elements in the JaCRC are given. The numbers in brackets correspond to the number of recordings that include (not always exclusively) that element and its percentage with respect to the total 254 recordings in the collection. The numbers include the 15 recordings from commercial realeases not available in the collection (see CONTENT above). Regarding role types, the JaCRC includes 5 different ones. The two most extensively covered ones are dan (127, 50.0%), including male dan (27) and huadan (2), and laosheng (108, 42.5%), including female laosheng (8). The other role types included in the JaCRC are jing (17, 6.7%), most of them of female jing (16), xiaosheng (1, 0.4%) and chou (1, 0.4%). The two main shengqiang in jingju are extensively covered in the JaCRC, namely xipi (153, 60.2%) and erhuang (62, 24.4%). Besides, other 7 shengqiang are also present in the collection, namely sipingdiao (14, 5.5%), nanbangzi (11, 4.3%), fan’erhuang (8, 3.1%), fansipingdiao (2, 0.8%), fanxipi (4, 1.6%), gaobozi (1, 0.4%), and handiao (1, 0.4%). As for banshi, there are instances of 18 different ones included in the JaCRC. The 7 more extensively represented banshi are yuanban (76, 29.9%), liushui (63, 24.8%), manban (46, 18.1%), erliu (40, 15.7%), sanban (34, 13.4%), yaoban (34, 13.4%), and daoban (27, 10.6%). Other banshi also included in the collection are kuaiban (17, 6.7%), huilong (8, 3.1%), sanyan (7, 2.8%), kuaisanyan (7, 2.8%), mansanyan (3, 1.2%), zhongsanyan (3, 1.2%), pengban (2, 0.8%), gunban (1, 0.4%), duoban (1, 0.4%), shuban (1, 0.4%), and kuaisanban (1, 0.4%). In terms of content, the JaCRC contains recordings of 142 arias from 74 different plays. Finally, the recordings in the JaCRC are performed by 23 artists, including 8 professional actors, 2 graduated jingju students, 3 undergraduate jingju students in their 4th year, and 10 amateur performers. In terms of role types, there are 10 laosheng performers, one of them being the one who also performs the xiaosheng and jing recordings, and another one also performing the chou recording, 8 dan, one of them also performing the huadan recordings, 3 male dan, 1 female laosheng and 1 female jing. ANNOTATIONS All the annotation files are named in the same exact manner as its corresponding recording, so that they can be easily matched. Besides, the metadata and information csv files indicate which annotations are available for which recordings. There are two types of annotations: segmentation and lyrics. The segmentation annotations were done manually and in three phases, corresponding to the subfolders in the “JaCRC-annotations” folder numbered ‘1,’ ‘2’ and ‘3.’ All the segmentations were done using the software Praat and are available in the JaCRC as TextGrid files. The phoneme annotations follow the Extended Speech Assessment Methods Phonetic Alphabet (X-SAMPA). Below is a description of the annotations contained in each of the subfolders: “1-phrase-syllable-phoneme” folder: all the recordings whose annotations are contained in this folder were segmented at least to the phrase (lyrics line), syllable and phoneme levels. Since the annotations were done for different research tasks, the TextGrid files might contain different numbers of tiers, but all of them have a tier named ‘line’ for the phrase level segmentation with lyrics line in Chinese characters as labels, a tier named ‘pinyin’ for the syllable level segmentation with syllables in the pinyin romanization system as labels, and a ‘details’ tier for phoneme segmentation and labels in X-SAMPA. In order to ease access to these annotations, tab-separated values files were generated from the TextGrid files and also included as txt files in this folder. The files that add “_phrase” to the recording’s name contain the phrase level annotations in pinyin. Those that add “_phrase_char” contain the same phrase level annotations, but in Chinese characters. Those that add “_syllable” contain the syllable level annotations in pinyin. And those that add “_phoneme” contain the phoneme level annotations in X-SAMPA. “2-phrase-syllable” folder: same case as in the previous folder, but without phoneme level annotations. In these TextGrid files, the phrase level annotations are still in tiers named ‘line,’ and the syllable level ones are in tiers named ‘dianSilence.’ “3-students” folder: same case as in “1-phrase-syllable-phoneme” folder. In these TextGrid files, the phrase level annotations are still in tiers named ‘line,’ the syllable level ones are in tiers named ‘dianSilence,’ and the phoneme level ones in tiers named ‘details.’ The lyrics annotations consist of csv files (semicolon as separator) containing the lyrics of their corresponding recordings in their original Chinese script. Each row corresponds to a lyrics line. The first three columns contain information for “Role type,” “Shengqiang” and “Banshi” (see the README file). In the fourth one, under the heading “Couplet line,” “s” (from shangju) indicates that the corresponding lyrics line is an opening line, “x” (from xiaju) indicates that it is a closing line, and “k” indicates is a kutou line. The fifth column, “Lyrics line,” contains the lyrics. If there is a matching music score in the Jingju Music Scores Collection (JMSC) for the aria performed in the corresponding recording, the sixth column, “Matched score lyrics line,” contains the lyrics for the same as they appear in the score. The seventh column, “Score XML” contains the name of the music score file in the JMSC. Finally, the eight and ninth columns, “Start” and “End,” contain the starting and ending boundaries of the lyrics line in the score. The boundaries are given as note offsets, according to music21. With this information, the notation of each line can be retrieved from the score. For a thorough description of the JaCRC, including metadata and information, naming convention and sources, please see the README file. LICENSE All the recordings newly created for the JaCRC, that is, all of them except for those from the Singing Voice Audio Dataset, are published under a Creative Commons Attribution 4.0 International License. For the license of the recordings from the Singing Voice Audio Dataset (those whose source in the metadata and information csv files is “SVAD”), included in the JaCRC with permission of the authors, please refer to its website. REFERENCING THE JaCRC If you use the recordings of the JaCRC in your research, please reference it in your publications using the text proposed in this website in the section “Cite as.” If you use the recordings from the Singing Voice Audio Dataset (those whose source in the metadata and information csv files is “SVAD”), please also include the following reference in your publications: Dawn A. A. Black, Ma Li and Mi Tian. "Automatic Identification of Emotional Cues in Chinese Opera Singing", in Proc. of 13th Int. Conf. on Music Perception and Cognition and the 5th Conference for the Asian-Pacific Society for Cognitive Sciences of Music (ICMPC 13-APSC0M 5 2014), Seoul, South Korea, August 2014. CONTACT For more information, or to request access to the recordings from commercial sources, that can be shared only for research purposes, please contact Rafael Caro Repetto (rafael.caro at upf.edu). ACKNOWLEDGEMENTS We express our deepest gratitude to all the professional and amateur performers who so generously contributed with their time and their art to the JaCRC. The creation of the JaCRC was funded by the European Research Council under the European Union’s Seventh Framework Program (FP7/2007-2013), as part of the CompMusic project (ERC grant agreement 267583).

**京剧无伴奏录音数据集（Jingju a Cappella Recordings Collection，简称JaCRC）** 隶属于巴塞罗那庞培法布拉大学音乐技术组（Music Technology Group, Universitat Pompeu Fabra, Barcelona，简称MTG）在CompMusic项目中构建的**京剧音乐语料库（Jingju Music Corpus）**。JaCRC的构建服务于多项研究任务，核心聚焦于京剧唱腔的旋律特征与京剧念白发音，该数据集的部分内容已被多篇学术出版物采用。 JaCRC包含314段京剧无伴奏演唱录音，以及对应人声轨道的76段京胡伴奏录音。其中除53段录音（详见【内容】小节）外，其余所有录音均为本数据集全新录制。此外，JaCRC还包含217段人声录音的人工分段标注，以及156份歌词文件，其中67份歌词文件附带了对应乐谱中每句歌词的起止边界标注（详见README文件）。本数据集采用知识共享协议发布（详见【授权协议】小节）。此前JaCRC的内容曾分三部分单独发布，本次全新整合将所有数据统一为标准结构，以提升易用性。 ### 【内容】 JaCRC的主体为239段京剧无伴奏唱腔录音。其中，本数据集的核心贡献为186段由专业或半专业京剧演员全新录制的无伴奏演唱录音。部分录音存在不完整的唱腔片段，这是由于表演者自主终止录制所致，后续会通过补充录制完成该段完整唱腔。少数情况下，表演者会录制同一唱腔的两个版本，本数据集均予以收录。其中76段录音的演唱者是在独立房间内配合现场演奏的京胡伴奏进行演唱，对应的伴奏录音也已同步收录至JaCRC中。为完善数据集内容，本数据集还整合了部分现有公开资源的录音。其中15段无伴奏演唱录音通过剥离混合音轨中的器乐伴奏获取，这些音轨原本是作为业余演唱者的伴奏素材单独发行的商业出版物内容。由于版权限制，这15段录音本身未被纳入JaCRC，但相关元数据与分段标注文件已包含在数据集中。此外，经作者授权，我们从《歌唱声音音频数据集》中引入了53段京剧无伴奏录音。为开发助力京剧演唱学习的技术，本数据集还录制了75段由业余表演者（包含儿童与成人）演唱的录音。这些业余表演者被视为“学生”，他们会模仿参考范本（即“教师”）进行演唱。“教师”既可以是现场参与录制并同步录音的表演者，也可以是JaCRC中已有的录音范本。其中16段“教师”演唱录音已纳入JaCRC，学生的匿名演唱录音同样收录其中。所有参与JaCRC录制的艺术家均已书面同意MTG以知识共享协议公开发布其演唱录音。为适配多样的研究任务，我们对142段录音进行了短语与音节级别的人工分段。其中81段录音（包含16段“教师”演唱录音）进一步完成了音素级别的分段。所有“学生”录音均已完成短语、音节与音素级别的分段。上述分段标注均以Praat TextGrid文件格式收录于JaCRC中。156段录音配有对应的CSV格式歌词文件，每行对应一句歌词。其中67份CSV文件还附带了对应乐谱中每句歌词的边界标注，边界标注采用music21工具包的偏移量格式。相关乐谱可在同名京剧乐谱语料库（Jingju Music Scores Collection，简称JMSC）中获取。 ### 【覆盖范围】作为京剧音乐语料库的一部分，JaCRC的采集旨在研究京剧声乐音乐的典型特征，因此数据集充分覆盖了京剧声乐音乐的核心要素，包括角色行当、声腔与板式。下文将介绍JaCRC中这些要素的覆盖统计数据，括号内的数字分别代表包含该要素的录音数量（并非仅包含该要素）及其占数据集总254段录音的百分比，统计范围包含前述15段因版权未收录的商业来源录音。 #### 角色行当 JaCRC共涵盖5类角色行当。覆盖最广的两类为**旦角（dan）**（127段，占比50.0%，包含男旦27段、花旦2段）与**老生（laosheng）**（108段，占比42.5%，包含女老生8段）。其余三类角色行当分别为**净角（jing）**（17段，占比6.7%，其中绝大多数为女净角16段）、**小生（xiaosheng）**（1段，占比0.4%）与**丑角（chou）**（1段，占比0.4%）。 #### 声腔京剧的两大核心声腔**西皮（xipi）**（153段，占比60.2%）与**二黄（erhuang）**（62段，占比24.4%）在JaCRC中均得到充分覆盖。此外，数据集还包含其他7种声腔：**四平调（sipingdiao）**（14段，占比5.5%）、**南梆子（nanbangzi）**（11段，占比4.3%）、**反二黄（fan’erhuang）**（8段，占比3.1%）、**反四平调（fansipingdiao）**（2段，占比0.8%）、**反西皮（fanxipi）**（4段，占比1.6%）、**高拨子（gaobozi）**（1段，占比0.4%）与**汉调（handiao）**（1段，占比0.4%）。 #### 板式 JaCRC包含18种不同的板式。占比最高的7类板式分别为**原板（yuanban）**（76段，占比29.9%）、**流水（liushui）**（63段，占比24.8%）、**慢板（manban）**（46段，占比18.1%）、**二流（erliu）**（40段，占比15.7%）、**散板（sanban）**（34段，占比13.4%）、**摇板（yaoban）**（34段，占比13.4%）与**导板（daoban）**（27段，占比10.6%）。其余收录的板式包括**快板（kuaiban）**（17段，占比6.7%）、**回龙（huilong）**（8段，占比3.1%）、**三眼（sanyan）**（7段，占比2.8%）、**快三眼（kuaisanyan）**（7段，占比2.8%）、**慢三眼（mansanyan）**（3段，占比1.2%）、**中三眼（zhongsanyan）**（3段，占比1.2%）、**碰板（pengban）**（2段，占比0.8%）、**滚板（gunban）**（1段，占比0.4%）、**多板（duoban）**（1段，占比0.4%）、**书板（shuban）**（1段，占比0.4%）与**快三板（kuaisanban）**（1段，占比0.4%）。从曲目维度来看，JaCRC包含来自74部不同剧目的142段唱腔录音。从表演者维度来看，JaCRC的录音共由23位艺术家完成，其中包括8位专业演员、2位毕业的京剧专业学生、3位四年级本科京剧专业学生，以及10位业余表演者。从角色行当来看，表演者包括10位老生演员（其中1位同时录制了小生与净角录音，另1位同时录制了丑角录音）、8位旦角演员（其中1位同时录制了花旦录音）、3位男旦演员、1位女老生演员与1位女净角演员。 ### 【标注】所有标注文件的命名与对应的录音文件名完全一致，便于快速匹配。元数据与信息CSV文件也会标注每份录音可获取的标注类型。标注分为两类：分段标注与歌词标注。分段标注采用人工完成，共分为三个阶段，对应“JaCRC-annotations”文件夹下编号为“1”、“2”、“3”的三个子文件夹。所有分段标注均使用Praat软件完成，以TextGrid文件格式收录于JaCRC中。音素标注采用**扩展语音评估方法音标（Extended Speech Assessment Methods Phonetic Alphabet，简称X-SAMPA）**。下文将介绍各子文件夹中包含的标注内容： 1. “1-phrase-syllable-phoneme”文件夹：该文件夹内的所有标注对应录音均至少完成了短语（歌词句）、音节与音素级别的分段。由于不同研究任务的需求差异，各TextGrid文件包含的音层数可能不同，但所有文件均包含：名为“line”的短语级标注层（标签为中文汉字的歌词句）、名为“pinyin”的音节级标注层（标签为拼音音译的音节），以及名为“details”的音素级标注层（标签为X-SAMPA格式的音素）。为便于访问，我们从TextGrid文件中提取生成了制表符分隔的文本文件，同样收录于该文件夹中。文件名中添加“_phrase”的文件包含拼音格式的短语级标注；添加“_phrase_char”的文件包含汉字格式的短语级标注；添加“_syllable”的文件包含拼音格式的音节级标注；添加“_phoneme”的文件包含X-SAMPA格式的音素级标注。 2. “2-phrase-syllable”文件夹：该文件夹内的标注与前一个文件夹类似，但未包含音素级标注。此类TextGrid文件的短语级标注层仍名为“line”，音节级标注层名为“dianSilence”。 3. “3-students”文件夹：该文件夹内的标注与“1-phrase-syllable-phoneme”文件夹一致。此类TextGrid文件的短语级标注层名为“line”，音节级标注层名为“dianSilence”，音素级标注层名为“details”。歌词标注采用CSV格式文件（以分号作为分隔符），包含对应录音的原始中文歌词。每行对应一句歌词。前三个列分别为“角色行当”、“声腔”与“板式”信息（详见README文件）。第四列标题为“Couplet line”，其中“s”（取自shangju，上句）表示该歌词句为起句，“x”（取自xiaju，下句）表示该歌词句为结句，“k”表示该歌词句为开头句（kutou）。第五列“Lyrics line”为歌词内容。若对应录音的唱腔在JMSC中存在匹配乐谱，则第六列“Matched score lyrics line”包含乐谱中对应的歌词内容。第七列“Score XML”为JMSC中对应的乐谱文件名。最后两列“Start”与“End”分别为该歌词句在乐谱中的起止边界，采用music21工具包的偏移量格式。通过上述信息，可从乐谱中检索到每句歌词对应的乐谱记谱。如需了解JaCRC的详细说明，包括元数据、信息、命名规范与来源，请参阅README文件。 ### 【授权协议】所有为JaCRC全新录制的录音（即除《歌唱声音音频数据集》来源的录音外）均采用知识共享署名4.0国际许可协议（Creative Commons Attribution 4.0 International License）发布。对于来自《歌唱声音音频数据集》（元数据与信息CSV文件中来源标注为“SVAD”）的录音，其授权协议请参阅其官方网站，此类录音已获得作者授权收录至JaCRC。 ### 【引用JaCRC】若您在研究中使用JaCRC的录音，请在学术出版物中引用本网站“Cite as”板块提供的引用格式。若您使用了来自《歌唱声音音频数据集》的录音（元数据与信息CSV文件中来源标注为“SVAD”），请额外在出版物中加入以下引用： > Dawn A. A. Black, Ma Li and Mi Tian. "Automatic Identification of Emotional Cues in Chinese Opera Singing", in Proc. of 13th Int. Conf. on Music Perception and Cognition and the 5th Conference for the Asian-Pacific Society for Cognitive Sciences of Music (ICMPC 13-APSC0M 5 2014), Seoul, South Korea, August 2014. ### 【联系方式】如需获取更多信息，或申请获取仅可用于研究用途的商业来源录音，请联系Rafael Caro Repetto（邮箱：rafael.caro at upf.edu）。 ### 【致谢】我们向所有慷慨贡献时间与艺术作品参与JaCRC录制的专业与业余表演者致以最诚挚的感谢。JaCRC的构建由欧盟第七框架计划（FP7/2007-2013）下的欧洲研究委员会资助，作为CompMusic项目的一部分（ERC资助协议编号：267583）。

提供机构：

Zenodo

创建时间：

2022-05-11

Jingju a Cappella Recordings Collection

资源简介：

相关数据集