fixes in build, increase timeout

webbook/_config.yml

@@ -10,7 +10,7 @@ logo: images/logo.png
 execute:
   execute_notebooks: force
   allow_errors: true
-  timeout: 5000
+  timeout: 10000
 
 # Define the name of the latex output file for PDF builds
 latex:
@@ -32,6 +32,7 @@ bibtex_bibfiles:
   - bibliography/rhythmic_analysis.bib
   - bibliography/structure_analysis.bib
   - bibliography/timbre_analysis.bib
+  - bibliography/separation.bib
 
 
 # Information about where the book exists on the web
@@ -47,4 +48,16 @@ html:
   use_repository_button: true
 
 # Exclude this patterns from build
-exclude_patterns: [.github/*, .venv/*, webbook/carnatic/*, webbook/hindustani/*, webbook/separation/misc/*, webbook/resources/exploring-raga.ipynb]
+exclude_patterns:
+  - .github/*
+  - .venv/*
+  - webbook/carnatic/*
+  - webbook/hindustani/*
+  - webbook/separation/misc/*
+  - webbook/resources/exploring-raga.ipynb
+  - webbook/separation/misc/carnatic-separation-leakage-finetune.ipynb
+  - webbook/separation/misc/carnatic-separation-leakage.ipynb
+  - webbook/separation/misc/carnatic-separation-spleeter.ipynb
+  - webbook/separation/misc/intro-carnatic-music.md
+  - webbook/resources/our-timeline.md
+  - README.md

webbook/bibliography/separation.bib

@@ -10,7 +10,7 @@ @article{spleeter
     title = {Spleeter: a fast and efficient music source separation tool with pre-trained models},
     journal = {Journal of Open Source Software},
     doi = {10.21105/joss.02154}}
-@article{demucs
+@article{demucs,
     author = {Défossez, Alexandre and Usunier, Nicolas and Bottou, Léon and Bach, Francis},
     eprint = {1911.13254},
     title = {Music Source Separation in the Waveform Domain},

webbook/resources/exploring-performance.ipynb

@@ -25,7 +25,7 @@
    "cell_type": "markdown",
    "metadata": {},
    "source": [
-    "## Import Dependencies and Data"
+    "## 1. Import Dependencies and Data"
    ]
   },
   {
@@ -291,7 +291,7 @@
    "cell_type": "markdown",
    "metadata": {},
    "source": [
-    "# 1. Loading and visualising the data"
+    "## 2. Loading and visualising the data"
    ]
   },
   {
@@ -577,7 +577,7 @@
    "cell_type": "markdown",
    "metadata": {},
    "source": [
-    "# 2. Feature Extraction"
+    "## 2. Feature Extraction"
    ]
   },
   {
@@ -1287,7 +1287,7 @@
    "cell_type": "markdown",
    "metadata": {},
    "source": [
-    "## Percussion onset detection"
+    "## 3. Rhythm analysis: Percussion onset detection"
    ]
   },
   {
@@ -1407,7 +1407,7 @@
    "cell_type": "markdown",
    "metadata": {},
    "source": [
-    "### 2.6 Melodic pattern discovery"
+    "## 4. Melodic analysis: Melodic pattern discovery"
    ]
   },
   {

webbook/rhythmic_analysis/meter_analysis.ipynb

@@ -6,6 +6,7 @@
    "source": [
     "(meter-analysis)=\n",
     "# Meter analysis\n",
+    "\n",
     "In the musical introduction, the main rhythmic characteristics of Carnatic and Hindustani traditions are provided. The presented hierarchical form of a tala is targeted in {cite}`srinivasamurthy_rhythm_2014`, using a supervised approach on top of spectral hand-crafted features that capture tempo and onsets in the signal. Bayesian models are found to be the most capable of capture the rhythmic cycles in music signals, first applied in the form of particle filters {cite}`srinivasamurthy_rhythm_2015` for an efficient inference, showing competetitive results on Carnatic recordings. The said approach is futher extended to a generalized model to capture long cycles {cite}`srinivasamurthy_rhythm_2016`, being this very convenient for rhythm tracking in Hindustani Music."
    ]
   },

webbook/structure_analysis/music-segmentation.ipynb

@@ -403,7 +403,7 @@
     "## A note on source separation for Indian Art Music\n",
     "As you may have noticed in the displayed audio above, even though `spleeter` is within the best out-of-the-box source separation models to use, we need to take into account some considerations in regards to the task of music source separation for Indian Art Music signals.\n",
     "\n",
-    "First of all, although `spleeter` is trained with a massive amount of recordings, we can safely assume that Carnatic and Hindustani music do not have a considerable representation in the training set (this applies to the other out-of-the-box source separation models out there). In that sense, it is expected that these models struggle to generalize to Indian Art Music specific instruments and arrangements, which may cause abnormally low interference removal performance. The predominance of melodic monophonic accompaniment instruments in both [Carnatic](carnatic-instrumentation) (the violin being the most common case) and [Hindustani](hindustani-instrumentation) (harmonium in this case), the [tambura drone](carnatic-tambura-drone), the pitched percussion... These are high-level examples of elements that may cause the standardized source separation models to not generalize properly to Indian Art Music signals.\n",
+    "First of all, although `spleeter` is trained with a massive amount of recordings, we can safely assume that Carnatic and Hindustani music do not have a considerable representation in the training set (this applies to the other out-of-the-box source separation models out there). In that sense, it is expected that these models struggle to generalize to Indian Art Music specific instruments and arrangements, which may cause abnormally low interference removal performance. The predominance of melodic monophonic accompaniment instruments in both [Carnatic](carnatic-instrumentation) (the violin being the most common case) and [Hindustani](hindustani-repertoire) (harmonium in this case), the [tambura drone](carnatic-tambura-drone), the pitched percussion... These are high-level examples of elements that may cause the standardized source separation models to not generalize properly to Indian Art Music signals.\n",
     "\n",
     "What is more, the standardized source separation models target whether *vocals* and *accompaniment*, or *vocals*, *bass*, *drums*, and *other*. While to separate the singing voice from an accompaniment is OK, the *4 stem* configuration is far from being representative of the actual Carnatic and Hindustani Music arrangements.\n",
     "\n",