Welcome to Scholar Publishing Group

International Journal of Neural Network, 2021, 2(4); doi: 10.38007/NN.2021.020406.

Recognition of Film and Television Background Music Based on Convolutional Neural Network

Author(s)

Ahthasham Alassery

Corresponding Author:
Ahthasham Alassery
Affiliation(s)

University of Balochistan, Pakistan

Abstract

Music is the product of consciousness and emotion, and is closely related to human life. The background music of film and television under big data has received extensive attention. Emotion is one of the main semantic information contained in music. Classification based on emotion can deeply explore music categories from multiple perspectives and improve the efficiency of music recognition. In recent years, it has gradually become a research hotspot in background music recognition. The research purpose of this paper is to identify the background music of film and television based on convolutional neural network. In the experiment, using the convolution operation, the selected eleven musical instruments basically cover a variety of music types, so as to identify the background music of film and television.

Keywords

Convolutional Neural Network, Background Music, Music Emotion, Music Recognition

Cite This Paper

Ahthasham Alassery. Recognition of Film and Television Background Music Based on Convolutional Neural Network. International Journal of Neural Network (2021), Vol. 2, Issue 4: 41-48. https://doi.org/10.38007/NN.2021.020406.

References

[1] Jennifer L. Improving passions: sentimental aesthetics and American film, by Charles Burnetts, Edinburgh, Edinburgh University Press, 2017, 192 pp.  $105.00 (hardback), ISBN 9780748698196. New Review of Film & Television Studies, 2018, 16(3):355-359. https://doi.org/10.1080/17400309.2018.1481900

[2] Poulakis N. Review of "Understanding Sound Tracks through Film Theory" by Elsie Walker and "Sound: Dialogue, Music, and Effects" edited by Kathryn Kalinak. Film & History An Interdisciplinary Journal of Film and Television Studies, 2018, 48(2):30-34.

[3] Herget A K, Albrecht J. Soundtrack for reality? How to use music effectively in non-fictional media formats. Psychology of Music, 2021, 50(2):508-529. https://doi.org/10.1177/0305735621999091

[4] Venczel P. A Brief Analysis of the Functionality and Dramaturgy of the Soundtrack in Film and Theater (Part I.). Theatrical Colloquia, 2020, 10(2):138-165. https://doi.org/10.2478/tco-2020-0027

[5] Florya A V. Intertextual Elements in the Poetics of the Film "CARGO 200" by A. Balabanov. Bulletin of Udmurt University Series History and Philology, 2019, 29(6):1071-1080. https://doi.org/10.35634/2412-9534-2019-29-6-1071-1080

[6] Larson J. Improving passions: sentimental aesthetics and American film. New Review of Film and Television Studies, 2018, 16(3):1-5. https://doi.org/10.1080/17400309.2018.1481900

[7] Neupert R. Agnès Varda between film, photography, and art. New Review of Film and Television Studies, 2018, 16(3):1-5. https://doi.org/10.1080/17400309.2018.1480577

[8] Crim B E. "I got no problem killing my kin": Fury (2014) and the evolution of the World War II combat film. Film & History an Interdisciplinary Journal of Film and Television Studies, 2018, 48(1):4-14.

[9] Knox S. Shameless, the push-pull of transatlantic fiction format adaptation, and star casting. New Review of Film and Television Studies, 2018, 16(3):1-29. https://doi.org/10.1080/17400309.2018.1487130

[10] Wilks L. Her stories: daytime soap opera & US television history: by Elana Levine, Durham and London, Duke University Press, 2020, 400 pp.  $29.95 (paperback), ISBN 9781478008019. New Review of Film and Television Studies, 2021, 19(2):242-244. https://doi.org/10.1080/17400309.2021.1918494

[11] Carter L. Unsettled Scores: Politics, Hollywood, and the Film Music of Aaron Copland and Hanns Eisler. By Sally Bick. Music and Letters, 2021, 101(4):807-810. https://doi.org/10.1093/ml/gcaa064

[12] Pett E, Warner H. The Invisible Institution? Reconstructing the History of BAFTA and the 1958 Merger of the British Film Academy with the Guild of Television Producers and Directors. Journal of British Cinema and Television, 2020, 17(4):449-472. https://doi.org/10.3366/jbctv.2020.0542

[13] Sticchi F. European cinema and continental philosophy: film as thought experiment. New Review of Film and Television Studies, 2019, 17(2):1-5. https://doi.org/10.1080/17400309.2019.1587220

[14] Walton S. Cruising the unknown: film as rhythm and embodied apprehension in L'Inconnu du lac/Stranger by the Lake (2013). New Review of Film and Television Studies, 2018, 16(3):1-26. https://doi.org/10.1080/17400309.2018.1479183

[15] Guimares J P. Beyond the Pulp Vanguard: Bruce Andrews's Film Noir Series and the Dead-End of Escapist Experimentalism. CounterText, 2021, 7(3):467-500. https://doi.org/10.3366/count.2021.0247

[16] Novakovi M. Zoran simjanovi's Balkan Ekspres mix: The status of a song between the archival and the original film music. Zbornik Akademije umetnosti, 2019, 2019(7):120-132. https://doi.org/10.5937/ZbAkUm1907120N

[17] Ahn S H. Reconsidering the Locus of Film Music: Diegesis, Non-Diegesis, and In-between Spaces. Music Theory Forum, 2019, 26(1):197-216. https://doi.org/10.16940/YMR.2019.26.1.197

[18] Justus T. Toward a naturalized aesthetics of film music: An interdisciplinary exploration of intramusical and extramusical meaning. Projections, 2019, 13(3):1–22. https://doi.org/10.3167/proj.2019.130302

[19] Rajaobelina P L, Dusseault P, Ricard L. The mediating role of place attachment in experience and word of mouth: The case of music and film festivals. International Journal of Arts Management, 2019, 21(2):43-54.