| 1. |
- Friberg, Anders, et al.
(författare)
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Performance Rules for Computer-Controlled Contemporary Keyboard Music
- 1991
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Ingår i: Computer music journal. - 0148-9267 .- 1531-5169. ; 15:2, s. 49-55
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Tidskriftsartikel (refereegranskat)abstract
- A computer program for synthesis of music performance, originally developed for traditional tonal music by means of an analysis-by-synthesis strategy, is applied to contemporary piano music as well as to various computer-generated random music. The program consists of rules that manipulate the durations and sound levels of the tones in a contextdependent way. When applying the rules to this music, the concept harmonic charge, which has been found useful for generating crescendi and diminuendi in performance of traditional tonal music for example, is replaced by chromatic charge. The music is performed on a Casio sampler controlled by a Macintosh II microcomputer. A listening panel of five experts on contemporary piano music or electroacoustic music clearly preferred performances processed by the performance program to "deadpan" performances mechanically replicating the durations and sound levels nominally written in the music score.
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| 2. |
- Friberg, Anders, et al.
(författare)
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Recent musical performance research at KTH
- 1994
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Ingår i: Proceedings of the Aarhus symposium on Generative grammars for music performance 1994. ; , s. 7-12
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Konferensbidrag (refereegranskat)
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| 3. |
- Friberg, Anders, et al.
(författare)
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Rules for musical performance
- 1994
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Annan publikation (mjukvara/multimedium) (övrigt vetenskapligt/konstnärligt)
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| 4. |
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| 5. |
- Sundberg, Johan, et al.
(författare)
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Expressive aspects of instrumental and sung performance
- 1994
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Ingår i: Proceedings of the Symposium on Psychophysiology and Psychopathology of the Sense of Music. - Heidelberg : Springer Berlin/Heidelberg.
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Konferensbidrag (refereegranskat)
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| 6. |
- Sundberg, Johan, et al.
(författare)
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Music and locomotion. a study of the perception of tones with level envelopes replicating force patterns of walking
- 1992
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Ingår i: STL-QPSR. ; 33:4, s. 109-122
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Music listening ofien produces associations to locomotion. This suggests that some patterns in music are similar to those perceived during locomotion. The present investigation tests the hypothesis that the sound level envelope of tones allude to force patterns associated with walking and dancing. Six examples of such force patterns were recorded using a force platform, and the vertical components were translated from kg to dB and used as level envelopes for tones. Sequences of four copies of each of these tones were presented with four different fixed inter-onset times. Music students were asked to characterize these sequences in three tests. In one test, the subjects were free to use any expression, and the occurrence of motion words in the responses was examined. In another test, they were asked to describe, ifpossible, the motion characteristics of the sequences, and the number of blank responses were studied. In the third test, they were asked to describe the sequences along 24 motion adjective scales, and the responses were submitted to a factor analysis. The results from the three tests showed a reasonable degree of coherence, suggesting that associations to locomotions are likely to occur under these conditions, particularly when (1) the inter-onset time is similar to the inter-step time typical of walking, and (2) when the inter-onset time agreed with that observed when the gait patterns were recorded. The latter observation suggests that the different motion patterns thus translated to sound level envelopes also may convey information on the type of motion.
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| 7. |
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| 8. |
- Sundberg, Johan, et al.
(författare)
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Music communication as studied by means of performance
- 1991
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Ingår i: STL-QPSR. ; 32:1, s. 065-083
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This article presents an overview of a long-term research work with a rule system for the automatic performance of music. The performance rules produce deviations from the durations, sound levels, and pitches nominally specified in the music score. They can be classified according to their apparent musical function: to help the listener (I) in the differentiation of different pitch and duration categories and (2) in the grouping of the tones. Apart from this, some rules serve the purpose of organizing tuning and synchronization in ensemble performance. The rules reveal striking similarities between music performance and speech; for instance final lengthening occur in both and the acoustic code used for marking of emphasis are similar.
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| 9. |
- Sundberg, Johan, et al.
(författare)
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Threshold and preference Quantities of Rules for Music Performance
- 1991
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Ingår i: Music perception. - : University of California Press. - 0730-7829 .- 1533-8312. ; 9:1, s. 71-92
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Tidskriftsartikel (refereegranskat)abstract
- In an analysis- by-synthesis investigation of music performance, rules have been developed that describe when and how expressive deviations are made from the nominal music notation in the score. Two experiments that consider the magnitudes of such deviations are described. In Experiment 1, the musicians' and nonmusicians' sensitivities to expressive deviations generated by seven performance rules are compared. The musicians showed a clearly greater sensitivity. In Experiment 2, professional musicians adjusted to their satisfaction the quantity by which six rules affected the performance. For most rules, there was a reasonable agreement between the musicians regarding preference. The preferred quantities seemed close to the threshold of perceptibility.
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