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- 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. - 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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| 8. |
- Sundberg, Johan, et al.
(författare)
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Musicians’ and nonmusicians’ sensitivity to differences in music performance
- 1988
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Ingår i: STL-QPSR. ; 29:4, s. 077-081
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- A set of ordered context-dependent rules for the automatic transformation of a music score to the corresponding musical performance has been developed, using an analysis-by-synthesis method [Sundberg, J. (1987): "Computer synthesis of music performance," pp. 52-69 in (J. Sloboda, ed.) Generative Processes in Music, Clarendon, Oxford]. The rules are implemented in the LeLisp language on a Macintosh microcomputer that controls a synthesizer via a MIDI interface. The rules manipulate sound level, fundamental frequency, vibrato extent, and duration of the tones. The present experiment was carried out in order to find out if the sensitivity of these effects differed between musicians and nonrnusicians. Pairs of performances of the same examples were presented in different series, one for each rule. Between the pairs in a series, the performance differences were varied within wide limits and, in the first pair in each series, the difference was pat, so as to catch the subject's attention. Subjects were asked to decide whether the two performances were identical. The results showed that musicians had a clearly greater sensitivity. The pedagogical implications of this finding will be discussed.
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| 9. |
- Sundberg, Johan, et al.
(författare)
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Rules for automated performance of ensemble music
- 1989
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Ingår i: Contemporary Music Review. - 0749-4467 .- 1477-2256. ; 3, s. 89-109
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Tidskriftsartikel (refereegranskat)abstract
- Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble playing. The effects of various rules concerning synchronization and timing and also tuning, in performance of ensemble music are evaluated by a listening panel of professional musicians. Further support for the notion of melodic clzarge, previously introduced and playing a prominent rule in the performance rules, is found in a correlation with fine tuning of intervals.
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| 10. |
- Sundberg, Johan, et al.
(författare)
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Rules for automatized performance of ensemble music
- 1987
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Ingår i: STL-QPSR. ; 28:4, s. 057-078
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated after having been suggested by a professional string quartet violinist and teacher of ensemble playing. The effects of various rules concerning synchronization and timing and, also, tuning in performance of ensemble music are evaluated by a listening panel of professional musicians. Further support for the notion of melodic charge, previously introduced and playing a prominent rule in the performance rules, is found in a correlation with fine tuning of intervals.
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