Expressive timing and dynamics in real and artificial musical performances: Using an algorithm as an analytical tool

Music Perception

Volumn 15, Issue 2, 1997, Pages 127-152

  Windsor, W Luke ^a,b   Clarke, Eric F ^a  

^a UNIVERSITY OF SHEFFIELD   (United Kingdom)

^b RADBOUD UNIVERSITY NIJMEGEN   (Netherlands)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 0141890800     PISSN: 07307829     EISSN: None     Source Type: Journal    
DOI: 10.2307/40285746     Document Type: Article

References (24)

1. Clarke, E. F. (1982). Timing in the performance of Erik Satie's 'Vexations.' Acta Psychologica, 50, 1-19.
2. Clarke, E. F. (1988). Generative principles in music performance. In J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition.. Oxford: Clarendon Press.
3. Clarke, E. F., & Windsor, W. L. (1996). Timing, dynamics and structure in human and algorithmic performances. In Proceedings of the 4th International Conference on Music Perception and Cognition. Montreal: Society for Music Perception and Cognition.
4. Clynes, M. (1983). Expressive microstructure in music, linked to living qualities. In J. Sundberg (Ed.), Studies of music performance (pp. 76-181). Stockholm: Royal Swedish Academy of Music.
5. Clynes, M., & Walker, J. (1982). Neurobiologic functions of rhythm, time and pulse in music. In M. Clynes (Ed.), Music, mind and brain. New York: Plenum Press.
6. Desain, P., & Honing, H. (1991). Towards a calculus for expressive timing in music. Computers in Music Research, 3, 43-120.
7. Drake, C., & Palmer, C. (1993). Accent structures in music performance. Music Perception, 10 (3), 343-378.
8. Gabrielsson, A. (1987). Once again: the theme from Mozart's Piano Sonata in A major: A comparison of five performances. In A. Gabrielsson (Ed.), Action and perception in rhythm and music. Stockholm: Royal Swedish Academy of Music.
9. Honing, H. (1990). POCO: an environment for analysing, modifying, and generating expression in music. In Proceedings of the 1990 International Computer Music Conference (pp. 364-368). San Francisco: Computer Music Association.
10. Kronman U., & Sundberg, A. (1987). Is the musical ritard an allusion to physical motion? In A. Gabrielsson (Ed.), Action and perception in rhythm and music. Stockholm: Royal Swedish Academy of Music.
11. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge: MIT Press.
12. Longuet-Higgins, H. C., & Lisle, E. R. (1989). Modelling music cognition. Contemporary Music Review, 3, 15-27.
13. Repp, B. H. (1990). Patterns of expressive timing in performances of a Beethoven minuet by 19 famous pianists. Journal of the Acoustical Society of America, 88, 622-641.
14. Repp, B. H. (1992). Diversity and commonality in music performance: an analysis of timing microstructure in Schumann's Traumerei. Journal of the Acoustical Society of America, 92 (5), 2546-2568.
15. Repp, B. H. (1995). Expressive timing in Schumann's Traumerei: an analysis of performances by graduate student pianists. Journal of the Acoustical Society of America, 98 (5), 2413-2427.
16. Repp, B. H. (1996). The dynamics of expressive piano performance: Schumann's Traumerei revisited. Journal of the Acoustical Society of America, 100 (1), 641-650.
17. Seashore, C. E. (1938). Psychology of music. New York: McGraw-Hill.
18. Shaffer, L. H. (1981). Performances of Chopin, Bach and Bartok: studies in motor programming. Cognitive Psychology, 13, 326-376.
19. Shaffer, L. H., & Todd, N. P. (1987). The interpretive component in musical performance. In A. Gabrielsson (Ed.), Action and perception in rhythm and music. Stockholm: Royal Swedish Academy of Music.
20. Shaffer, L. H., Clarke, E. F., & Todd, N. P. (1985). Metre and rhythm in piano playing. Cognition, 20, 61-77.
21. Sundberg, J. (1988). Computer synthesis of music performance. In J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition. Oxford: Clarendon Press.
22. Todd, N. P. (1985). A model of expressive timing in tonal music. Music Perception, 3, 33-58.
23. Todd, N. P. (1989). A computational model of tempo. Contemporary Music Review, 3, 69-88.
24. Todd, N. P. (1992). The dynamics of dynamics: A model of musical expression. Journal of the Acoustical Society of America, 91, 3540-3550.