The Final Ritard: On Music, Motion, and Kinematic Models

Computer Music Journal

Volumn 27, Issue 3, 2003, Pages 66-72

  Honing, Henkjan ^a  

^a UNIVERSITY OF AMSTERDAM   (Netherlands)

Author keywords

[No Author keywords available]

Indexed keywords

COMPUTATIONAL METHODS; HUMAN ENGINEERING; KINEMATICS; MATHEMATICAL MODELS;

BIOLOGICAL MOTION;

COMPUTER MUSIC;

EID: 0142186107     PISSN: 01489267     EISSN: None     Source Type: Journal    
DOI: 10.1162/014892603322482538     Document Type: Review

References (20)

1. Baily, J. 1985. "Music Structure and Human Movement." In P. Howell, I. Cross, and R. West, eds. Musical Structure and Cognition. London: Academic Press pp. 237-258.
2. Clarke, E. F. 1993. "Generativity, Mimesis, and the Human Body in Music Performance." In I. Cross and I. Deliège, eds. Music and the Cognitive Sciences. London: Harwood Press, pp. 207-220.
3. Desain, P., and H. Honing. 1993. "Tempo Curves Considered Harmful." Contemporary Music Review 7(2):123-138.
4. Desain, P., and H. Honing. 1994. "Does Expressive Timing in Music Performance Scale Proportionally with Tempo?" Psychological Research 56:285-292.
5. Desain, P., and H. Honing. 1996. "Physical Motion as a Metaphor for Timing in Music: The Final Ritard." Proceedings of the International Computer Music Conference. San Francisco: International Computer Music Association, pp. 458-460.
6. Desain, P., and H. Honing. 2001. "Modeling the Effect of Meter in Rhythmic Categorization: Preliminary Results." Japanese Journal of Music Perception and Cognition. 7(2).
7. Epstein, D. 1994. Shaping Time. New York: Schirmer.
8. Feldman, J., D. Epstein, and W. Richards. 1992. "Force Dynamics of Tempo Change in Music." Music Perception 10(2):185-204.
9. Friberg, A., and J. Sundberg. 1999. "Does Music Performance Allude to Locomotion? A model of Final Ritardandi Derived from Measurements of Stopping Runners." Journal of the Acoustical Society of America 105(3):1469-1484.
10. Honing, H. 2001. "From Time to Time: The Representation of Timing and Tempo." Computer Music Journal 35(3):50-61.
11. Kronman, U., and J. Sundberg. 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, pp. 57-68.
12. Longuet-Higgins, H. C. 1987. Mental Processes. Cambridge, Massachusetts: MIT Press.
13. Longuet-Higgins, H. C., and E. R. Lisle. 1989. "Modeling Music Cognition," Contemporary Music Review 3:15-27.
14. Repp, B. H. 1992. "Diversity and Commonality in Music Performance: An Analysis of Timing Microstructure in Schumann's Träumerei." Journal of the Acoustical Society of America 92(5):2546-2568.
15. Shove, P., and B. H. Repp. 1995. "Musical Motion and Performance: Theoretical and Empirical Perspectives." In J. Rink, ed. The Practice of Performance. Cambridge, U.K.: Cambridge University Press, pp. 55-83.
16. Sundberg, J. and V. Verillo. 1980. "On the Anatomy of the Ritard: A Study of Timing in Music." Journal of the Acoustical Society of America 68(3):772-779.
17. Todd, N. P. M. 1985. "A Model of Expressive Timing in Tonal Music." Music Perception 3(1):33-58.
18. Todd, N. P. M. 1992. "The Dynamics of Dynamics: A Model of Musical Expression." Journal of the Acoustical Society of America 91(6):3540-3550.
19. Todd, N. P. M. 1999. "Motion in Music: A Neurobiological Perspective." Music Perception 17(1):115-126.
20. Van Noorden, L., and D. Moelants. 1999. "Resonance in the Perception of Musical Tempo." Journal of New Music Research 28(1):43-66.