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- Carlson, Rolf, et al.
(author)
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Speech and music performance : parallels and contrasts
- 1989
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In: Contemporary Music Review. - 0749-4467 .- 1477-2256. ; 4, s. 389-402
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Journal article (peer-reviewed)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. |
- Friberg, Anders, et al.
(author)
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Musical punctuation on the microlevel : Automatic identification and performance of small melodic units
- 1998
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In: Journal of New Music Research. - : Informa UK Limited. - 0929-8215 .- 1744-5027. ; 27:3, s. 271-292
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Journal article (peer-reviewed)abstract
- In this investigation we use the term musical punctuation for the marking of melodic structure by commas inserted at the boundaries that separate small structural units. Two models are presented that automatically try to locate the positions of such commas. They both use the score as the input and operate with a short context of maximally five notes. The first model is based on a set of subrules. One group of subrules mark possible comma positions, each provided with a weight value. Another group alters or removes these weight values according to different conditions. The second model is an artificial neural network using a similar input as that used by the rule system. The commas proposed by either model are realized in terms of micropauses and of small lengthenings of interonset durations. The models are evaluated by using a set of 52 musical excerpts, which were marked with punctuations according to the preference of an expert performer.
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| 6. |
- Friberg, Anders, et al.
(author)
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Performance Rules for Computer-Controlled Contemporary Keyboard Music
- 1991
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In: Computer music journal. - 0148-9267 .- 1531-5169. ; 15:2, s. 49-55
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Journal article (peer-reviewed)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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| 9. |
- Friberg, Anders, et al.
(author)
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Recent musical performance research at KTH
- 1994
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In: Proceedings of the Aarhus symposium on Generative grammars for music performance 1994. ; , s. 7-12
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Conference paper (peer-reviewed)
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