| 1. |
- Bresin, Roberto, 1963-, et al.
(författare)
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Emotion rendering in music : Range and characteristic values of seven musical variables
- 2011
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Ingår i: Cortex. - : Elsevier BV. - 0010-9452 .- 1973-8102. ; 47:9, s. 1068-1081
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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.
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| 2. |
- Bresin, Roberto, 1963-, et al.
(författare)
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Evaluation of computer systems for expressive music performance
- 2013
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Ingår i: Guide to Computing for Expressive Music Performance. - London : Springer. - 9781447141235 - 9781447141228 ; , s. 181-203
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Bokkapitel (refereegranskat)abstract
- In this chapter, we review and summarize different methods for the evaluation of CSEMPs. The main categories of evaluation methods are (1) comparisons with measurements from real performances, (2) listening experiments, and (3) production experiments. Listening experiments can be of different types. For example, in some experiments, subjects may be asked to rate a particular expressive characteristic (such as the emotion conveyed or the overall expression) or to rate the effect of a particular acoustic cue. In production experiments, subjects actively manipulate system parameters to achieve a target performance. Measures for estimating the difference between performances are discussed in relation to the objectives of the model and the objectives of the evaluation. There will be also a section with a presentation and discussion of the Rencon (Performance Rendering Contest). Rencon is a contest for comparing the expressive musical performances of the same score generated by different CSEMPs. Practical examples from previous works are presented, commented on, and analysed.
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| 3. |
- Bresin, Roberto, 1963-, et al.
(författare)
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Expressive sonification of footstep sounds
- 2010
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Ingår i: Proceedings of ISon 2010. - Stockholm, Sweden : KTH Royal Institute of Technology. ; , s. 51-54
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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.
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| 4. |
- Bresin, Roberto, 1963-, et al.
(författare)
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Interactive sonification
- 2012
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Ingår i: Journal on Multimodal User Interfaces. - : Springer Science and Business Media LLC. - 1783-7677 .- 1783-8738. ; 5:3-4, s. 85-86
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Tidskriftsartikel (refereegranskat)abstract
- In October 2010, Roberto Bresin, Thomas Hermann and Andy Hunt launched a call for papers for a special issue on Interactive Sonification of the Journal on Multimodal User Interfaces (JMUI). The call was published in eight major mailing lists in the field of Sound and Music Computing and on related websites. Twenty manuscripts were submit- ted for review, and eleven of them have been accepted for publication after further improvements. Three of the papers are further developments of works presented at ISon 2010— Interactive Sonification workshop. Most of the papers went through a three-stage review process.The papers give an interesting overview of the field of Interactive Sonification as it is today. Their topics include the sonification of data exploration and of motion, a new sound synthesis model suitable for interactive sonification applications, a study on perception in the everyday periphery of attention, and the proposal of a conceptual framework for interactive sonification.
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| 5. |
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| 6. |
- Burger, Birgitta, et al.
(författare)
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Communication of Musical Expression by Means of Mobile Robot Gestures
- 2010
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Ingår i: Journal on Multimodal User Interfaces. - Stockholm : Springer Science and Business Media LLC. - 1783-7677 .- 1783-8738. ; 3:1, s. 109-118
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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.
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| 7. |
- Dahl, S., et al.
(författare)
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Gestures in Performance
- 2010
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Ingår i: Musical Gestures. - : Taylor and Francis. ; , s. 36-68
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- On occasion, one can observe a whole orchestra section moving and playing in unison. In such an instance, all violinists play the melody using the same type of bowing movements and lean forward in unison at a given time during a specific passage in the music. Thus, not only do the musicians use very similar movements to produce the same notes but they sometimes also coordinate bodily sways or other movements with the other players. The musical gesture seems to manifest itself in both sound and movement. Whether we are watching as audience, or participating and interacting in the actual performance itself, we receive a considerable amount of gestural information. The aim of this chapter is to give examples of gestures that may be observed during performance, and to consider the kind of information they might convey, either to other performers or to the audience.
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| 8. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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Modes of sonic interaction in circus : Three proofs of concept
- 2014
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Ingår i: Proceedings of Sound and Music Computing Conference 2014. - Athens : The International Computer Music Association, The Sound and Music Computing Steering Committe, The Institute for Research on Music & Acoustics. ; , s. 1698-1706, s. 1698-1706-
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Konferensbidrag (refereegranskat)abstract
- The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus.The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.
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| 9. |
- Elblaus, Ludvig, 1981-, et al.
(författare)
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NIME Design and Contemporary Music Practice : Benefits and Challenges
- 2014
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Konferensbidrag (refereegranskat)abstract
- This paper deals with the question of how the developmentof new musical artifacts can benet from deeply engagingwith contemporary musical practice. With the novel ideasproduced by the NIME community manifested in musicalinstruments in continuous use, new research questions canbe answered and new sources of knowledge can be explored.This can also be very helpful in evaluation, as it is possi-ble to evaluate the qualities of an instrument in a speciedcontext, rather than evaluating a prototyped instrument onthe basis of its unrealised potential. The information fromsuch evaluation can then be fed back into the developmentprocess, allowing researchers to probe musical practice itselfwith their designs.
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| 10. |
- 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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