| 1. |
|
|
| 2. |
- Bresin, Roberto, et al.
(författare)
-
Auditory feedback through continuous control of crumpling sound synthesis
- 2008
-
Ingår i: Proceedings of Sonic Interaction Design. - : IUAV University of Venice. - 9788890341304 ; , s. 23-28
-
Konferensbidrag (refereegranskat)abstract
- A realtime model for the synthesis of crumpling sounds ispresented. By capturing the statistics of short sonic transients which give rise to crackling noise, it allows for a consistent description of a broad spectrum of audible physical processes which emerge in several everyday interaction contexts.The model drives a nonlinear impactor that sonifies every transient, and it can be parameterized depending on the physical attributes of the crumpling material. Three different scenarios are described, respectively simulating the foot interaction with aggregate ground materials, augmenting a dining scenario, and affecting the emotional content of a footstep sequence. Taken altogether, they emphasize the potential generalizability of the model to situations in which a precise control of auditory feedback can significantly increase the enactivity and ecological validity of an interface.
|
|
| 3. |
- Bresin, Roberto, 1963-, et al.
(författare)
-
Emotion rendering in music : Range and characteristic values of seven musical variables
- 2011
-
Ingår i: Cortex. - : Elsevier BV. - 0010-9452 .- 1973-8102. ; 47:9, s. 1068-1081
-
Tidskriftsartikel (refereegranskat)abstract
- Many studies on the synthesis of emotional expression in music performance have focused on the effect of individual performance variables on perceived emotional quality by making a systematical variation of variables. However, most of the studies have used a predetermined small number of levels for each variable, and the selection of these levels has often been done arbitrarily. The main aim of this research work is to improve upon existing methodologies by taking a synthesis approach. In a production experiment, 20 performers were asked to manipulate values of 7 musical variables simultaneously (tempo, sound level, articulation, phrasing, register, timbre, and attack speed) for communicating 5 different emotional expressions (neutral, happy, scary, peaceful, sad) for each of 4 scores. The scores were compositions communicating four different emotions (happiness, sadness, fear, calmness). Emotional expressions and music scores were presented in combination and in random order for each performer for a total of 5 x 4 stimuli. The experiment allowed for a systematic investigation of the interaction between emotion of each score and intended expressed emotions by performers. A two-way analysis of variance (ANOVA), repeated measures, with factors emotion and score was conducted on the participants' values separately for each of the seven musical factors. There are two main results. The first one is that musical variables were manipulated in the same direction as reported in previous research on emotional expressive music performance. The second one is the identification for each of the five emotions the mean values and ranges of the five musical variables tempo, sound level, articulation, register, and instrument. These values resulted to be independent from the particular score and its emotion. The results presented in this study therefore allow for both the design and control of emotionally expressive computerized musical stimuli that are more ecologically valid than stimuli without performance variations.
|
|
| 4. |
- Bresin, Roberto, 1963-, et al.
(författare)
-
Expressive sonification of footstep sounds
- 2010
-
Ingår i: Proceedings of ISon 2010. - Stockholm, Sweden : KTH Royal Institute of Technology. ; , s. 51-54
-
Konferensbidrag (refereegranskat)abstract
- In this study we present the evaluation of a model for the interactive sonification of footsteps. The sonification is achieved by means of specially designed sensored-shoes which control the expressive parameters of novel sound synthesis models capable of reproducing continuous auditory feedback for walking. In a previousstudy, sounds corresponding to different grounds were associated to different emotions and gender. In this study, we used an interactive sonification actuated by the sensored-shoes for providing auditory feedback to walkers. In an experiment we asked subjects to walk (using the sensored-shoes) with four different emotional intentions (happy, sad, aggressive, tender) and for each emotion we manipulated the ground texture sound four times (wood panels, linoleum, muddy ground, and iced snow). Preliminary results show that walkers used a more active walking style (faster pace) when the sound of the walking surface was characterized by an higher spectral centroid (e.g. iced snow), and a less active style (slower pace) when the spectral centroid was low (e.g. muddy ground). Harder texture sounds lead to more aggressive walking patters while softer ones to more tender and sad walking styles.
|
|
| 5. |
|
|
| 6. |
|
|
| 7. |
- Bresin, Roberto
(författare)
-
Real-time visualization of musical expression
- 2004
-
Ingår i: Proceedings of Network of Excellence HUMAINE Workshop "From Signals to Signs of Emotion and Vice Versa". ; , s. 19-23
-
Konferensbidrag (refereegranskat)abstract
- A system for real-time feedback of expressive music performance is presented.The feedback is provided by using a graphical interface where acoustic cues arepresented in an intuitive fashion. The graphical interface presents on the computerscreen a three-dimensional object with continuously changing shape, size,position, and colour. Some of the acoustic cues were associated with the shape ofthe object, others with its position. For instance, articulation was associated withshape, staccato corresponded to an angular shape and legato to a rounded shape.The emotional expression resulting from the combination of cues was mapped interms of the colour of the object (e.g., sadness/blue). To determine which colourswere most suitable for respective emotion, a test was run. Subjects rated how welleach of 8 colours corresponds to each of 12 music performances expressingdifferent emotions.
|
|
| 8. |
- Bresin, Roberto
(författare)
-
What is the color of that music performance?
- 2005
-
Ingår i: Proceedings of the International Computer Music Conference - ICMC 2005. - Barcelona. ; , s. 367-370
-
Konferensbidrag (refereegranskat)abstract
- The representation of expressivity in music is still a fairlyunexplored field. Alternative ways of representing musicalinformation are necessary when providing feedback onemotion expression in music such as in real-time tools formusic education, or in the display of large music databases.One possible solution could be a graphical non-verbal representationof expressivity in music performance using coloras index of emotion. To determine which colors aremost suitable for an emotional expression, a test was run.Subjects rated how well each of 8 colors and their 3 nuancescorresponds to each of 12 music performances expressingdifferent emotions. Performances were playedby professional musicians with 3 instruments, saxophone,guitar, and piano. Results show that subjects associateddifferent hues to different emotions. Also, dark colorswere associated to music in minor tonality and light colorsto music in major tonality. Correspondence betweenspectrum energy and color hue are preliminary discussed.
|
|
| 9. |
- Burger, Birgitta, et al.
(författare)
-
Communication of Musical Expression by Means of Mobile Robot Gestures
- 2010
-
Ingår i: Journal on Multimodal User Interfaces. - Stockholm : Springer Science and Business Media LLC. - 1783-7677 .- 1783-8738. ; 3:1, s. 109-118
-
Tidskriftsartikel (refereegranskat)abstract
- We developed a robotic system that can behave in an emotional way. A 3-wheeled simple robot with limited degrees of freedom was designed. Our goal was to make the robot displaying emotions in music performance by performing expressive movements. These movements have been compiled and programmed based on literature about emotion in music, musicians’ movements in expressive performances, and object shapes that convey different emotional intentions. The emotions happiness, anger, and sadness have been implemented in this way. General results from behavioral experiments show that emotional intentions can be synthesized, displayed and communicated by an artificial creature, also in constrained circumstances.
|
|
| 10. |
|
|
