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| 2. |
- Bresin, Roberto, et al.
(författare)
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Director musices : The KTH performance rules system
- 2002
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Ingår i: Proceedings of SIGMUS-46. - : Information Processing Society of Japan. ; , s. 43-48
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Konferensbidrag (refereegranskat)abstract
- Director Musices is a program that transforms notated scores into musical performances. It implements the performance rules emerging from research projects at the Royal Institute of Technology (KTH). Rules in the program model performance aspects such as phrasing, articulation, and intonation, and they operate on performance variables such as tone, inter-onset duration, amplitude, and pitch. By manipulating rule parameters, the user can act as a metaperformer controlling different feature of the performance, leaving the technical execution to the computer. Different interpretations of the same piece can easily be obtained. Features of Director Musices include MIDI file input and output, rule palettes, graphical display of all performance variables (along with the notation), and userdefined performance rules. The program is implemented in Common Lisp and is available free as a stand-alone application both for Macintosh and Windows platforms. Further information, including music examples, publications, and the program itself, is located online at http://www.speech.kth.se/music/performance. This paper is a revised and updated version of a previous paper published in the Computer Music Journal in year 2000 that was mainly written by Anders Friberg (Friberg, Colombo, Frydén and Sundberg, 2000).
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| 3. |
- Carlson, Rolf, et al.
(författare)
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Speech and music performance : parallels and contrasts
- 1989
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Ingår i: Contemporary Music Review. - : Informa UK Limited. - 0749-4467 .- 1477-2256. ; 4, s. 389-402
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Tidskriftsartikel (refereegranskat)abstract
- Speech and music performance are two important systems for interhuman communication by means of acoustic signals. These signals must be adapted to the human perceptual and cognitive systems. Hence a comparitive analysis of speech and music performances is likely to shed light on these systems, particularly regarding basic requirements for acoustic communication. Two computer programs are compared, one for text-to-speech conversion and one for note-to-tone conversion. Similarities are found in the need for placing emphasis on unexpected elements, for increasing the dissimilarities between different categories, and for flagging structural constituents. Similarities are also found in the code chosen for conveying this information, e.g. emphasis by lengthening and constituent marking by final lengthening.
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| 5. |
- Elowsson, Anders, et al.
(författare)
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Modelling the Speed of Music Using Features from Harmonic/Percussive Separated Audio
- 2013
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Ingår i: Proceedings of the 14th International Society for Music Information Retrieval Conference. - : International Society for Music Information Retrieval. - 9780615900650 ; , s. 481-486
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Konferensbidrag (refereegranskat)abstract
- One of the major parameters in music is the overall speed of a musical performance. In this study, a computational model of speed in music audio has been developed using a custom set of rhythmic features. Speed is often associ-ated with tempo, but as shown in this study, factors such as note density (onsets per second) and spectral flux are important as well. The original audio was first separated into a harmonic part and a percussive part and the fea-tures were extracted separately from the different layers. In previous studies, listeners had rated the speed of 136 songs, and the ratings were used in a regression to evalu-ate the validity of the model as well as to find appropriate features. The final models, consisting of 5 or 8 features, were able to explain about 90% of the variation in the training set, with little or no degradation for the test set.
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| 6. |
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| 7. |
- Friberg, Anders
(författare)
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A Quantitative Rule System for Musical Performance
- 1995
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- A rule system is described that translates an input score file to a musical performance. The rules model different principles of interpretation used by real musicians, such as phrasing, punctuation, harmonic and melodic structure, micro timing, accents, intonation, and final ritard. These rules have been applied primarily to Western classical music but also to contemporary music, folk music and jazz. The rules consider mainly melodic aspects, i. e., they look primarily at pitch and duration relations, disregarding repetitive rhythmic patterns. A complete description and discussion of each rule is presented. The effect of each rule applied to a music example is demonstrated on the CD-ROM. A complete implementation is found in the program Director Musices, also included on the CD-ROM.The smallest deviations that can be perceived in a musical performance, i. e., the JND, was measured in three experiments. In one experiment the JND for displacement of a single tone in an isochronous sequence was found to be 6 ms for short tones and 2.5% for tones longer than 250 ms. In two other experiments the JND for rule-generated deviations was measured. Rather similar values were found despite different musical situations, provided that the deviations were expressed in terms of the maximum span, MS. This is a measure of a parameter's maximum deviation from a deadpan performance in a specific music excerpt. The JND values obtained were typically 3-4 times higher than the corresponding JNDs previously observed in psychophysical experiments.Evaluation, i. e. the testing of the generality of the rules and the principles they reflect, has been carried out using four different methods: (1) listening tests with fixed quantities, (2) preference tests where each subject adjusted the rule quantity, (3) tracing of the rules in measured performances, and (4) matching of rule quantities to measured performances. The results confirmed the validity of many rules and suggested later realized modifications of others.Music is often described by means of motion words. The origin of such analogies was pursued in three experiments. The force envelope of the foot while walking or dancing was transferred to sound level envelopes of tones. Sequences of such tones, repeated at different tempi were perceived by expert listeners as possessing motion character, particularly when presented at the original walking tempo. Also, some of the character of the original walking or dancing could be mediated to the listeners by means of these tone sequences. These results suggest that the musical expressivity might be increased in rule-generated performances if rules are implemented which reflect locomotion patterns.
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| 8. |
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| 9. |
- Friberg, Anders, et al.
(författare)
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Analysis by synthesis
- 2014
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Ingår i: Music in the Social and Behavioral Sciences. - Los Angeles : Sage Publications. - 9781452283036
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Bokkapitel (refereegranskat)
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| 10. |
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