A structurally guided method for the decomposition of expression in music performance

Journal of the Acoustical Society of America

Volumn 119, Issue 2, 2006, Pages 1182-1193

  Windsor, W Luke ^a   Desain, Peter ^b   Penel, Amandine ^c   Borkent, Michiel ^b  

^a UNIVERSITY OF LEEDS   (United Kingdom)

^b RADBOUD UNIVERSITY NIJMEGEN   (Netherlands)

^c AIX MARSEILLE UNIVERSITÉ   (France)

Author keywords

[No Author keywords available]

Indexed keywords

MUSIC PERFORMANCE; PIANO; STRUCTURAL COMPONENTS; STRUCTURALLY GUIDED METHOD;

DECOMPOSITION; MATHEMATICAL MODELS; MUSICAL INSTRUMENTS; PERFORMANCE; SPEECH;

ACOUSTICS;

ARTICLE; AUDIO RECORDING; AUDITORY ORIENTATION; COMPARATIVE STUDY; HUMAN; MATHEMATICAL ANALYSIS; MATHEMATICAL MODEL; METHODOLOGY; MUSIC; PRIORITY JOURNAL; SCORING SYSTEM; SOUND DETECTION; SOUND LEVEL MEASUREMENT; SOUND TRANSMISSION; STATISTICAL SIGNIFICANCE;

ANALYSIS OF VARIANCE; AUDITORY PERCEPTION; DISCRIMINATION (PSYCHOLOGY); HUMANS; MUSIC; TIME PERCEPTION; VOICE QUALITY;

EID: 31744438390     PISSN: 00014966     EISSN: None     Source Type: Journal    
DOI: 10.1121/1.2146091     Document Type: Article

References (39)

1. Bowen, J. A. (1996). "Tempo Duration & Flexibility: Techniques in the Analysis of Performance," J. Music. Res. 16(2), 111-156.
2. Chaffin, R., and Imreh, G. (2002). "Practicing perfection: Piano performance as expert memory," Psychol. Sci. 13(4), 342-349.
3. Clarke, E. F. (1988). "Generative principles in music performance," in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, edited by J. A. Sloboda (Clarendon, Oxford), pp. 1-26.
4. Clarke, E. F. (1993). "Imitating and evaluating real and transformed musical performances," Music Percept. 10(3), 317-341.
5. Clarke, E. F., and Windsor, W. L. (2000). "Real and Simulated Expression: a Listening Study," Music Percept. 17(3), 1-37.
6. Clynes, M. (1983). "Expressive microstructure in music, linked to living qualities," in Studies of Music Performance, edited by J. Sundberg (Royal Swedish Academy of Music, Stockholm), pp. 76-181.
7. Desain, P., and Honing, H. (1994). "Does expressive timing in music performance scale proportionally with tempo?" Psychol. Res. 56, 285-292.
8. Desain, P., and Honing, H. (1997). "Structural Expression Component Theory (SECT), and a method for decomposing expression in music performance," in Proceedings of the Society for Music Perception and Cognition Conference (MIT, Cambridge), p. 38.
9. Desain, P., Honing, H., Van Thienen, H., and Windsor, L. (1998). "Computational Modeling of Music Cognition: Problem or Solution?" Music Percept. 16(1), 151-166.
10. Dixon, S., Goebl, W., and Widmer, G. (2002). "Real time tracking and visualisation of musical expression," in Proceedings of the Second International Conference on Music and Artificial Intelligence, edited by C. Anagnostopoulou, M. Ferrand, and A. Smaill (Springer, Berlin), pp. 58-68.
11. Friberg, A. (1991). "Generative Rules for Music Performance: A Formal Description of a Rule System," Comput. Music J. 15(2), 56-71.
12. Friberg, A. (1995). "Matching the rule parameters of Phrase arch to performances of 'Träumerei': a preliminary study," in Proceedings of KTH Symposium on Grammars for Music Performance (KTH, Stockholm).
13. Gentner, D. R. (1987). "Timing of Skilled Motor Performance: Tests of the Proportional Duration Model," Psychol. Rev. 94(2), 255-276.
14. Honing, H. (1990). "POCO: an environment for analysing, modifying, and generating expression in music," in Proceedings of the 1990 International Computer Music Conference (International Computer Music, San Francisco), pp. 364-368.
15. Honing, H. (1992). "Expresso, a strong and small editor for expression," in Proceedings of the 1992 International Computer Music Conference (International Computer Music, San Francisco), pp. 215-218.
16. Hudson, R. (1994). Stolen Time: The History of Tempo Rubato (Clarendon, Oxford).
17. Palmer, C. (1989). "Mapping musical thought to musical performance," J. Exp. Psychol. Hum. Percept. Perform. 15(12), 331-346.
18. Palmer, C. (1997). "Music Performance," Annu. Rev. Psychol. 48, 115-138.
19. Palmer, C., and Krumhansl, C. L. (1990). "Mental representations for musical meter," J. Exp. Psychol. Hum. Percept. Perform. 16(4), 728-741.
20. Parncutt, R. (1994). "A Perceptual Model of Pulse Salience and Metrical Accent in Musical Rhythms," Music Percept. 11(4), 409-464.
21. Penel, A. (2000). "Variations temporelles dans l'interpré tation musicale: processus perceptifs et cognitifs," unpublished doctoral dissertation, Université Paris 6. Available from the third author on request.
22. Penel, A., and Drake, C. (1998). "Sources of timing variations in music performance: A psychological segmentation model," Psychol. Res. 61, 12-32.
23. Penel, A., Desain, P., Maris, E., and Windsor, W. L. (1999). "A decomposition model of expressive timing," in Proceedings of the 1999 SMPC Evanston, IL, p. 21.
24. Repp, B. H. (1992). "Diversity and commonality in music performance - an analysis of timing microstructure in Schumann's Traumerei," J. Acoust. Soc. Am. 92, 2546-2568.
25. Repp, B. H. (1994). "Relational invariance of expressive microstructure across global tempo changes in music performance: An exploratory study," Psychol. Res. 56, 269-284.
26. Schmidt, R. A. (1985). "The search for invariance in skilled movement behavior," Res. Q. Exerc Sport 56(2), 188-200.
27. Seashore, C. E. (1938). Psychology of Music (McGraw-Hill, New York).
28. Shaffer, L. H. (1981). "Performances of Chopin, Bach and Bartok: studies in motor programming," Cognit Psychol. 13, 326-376.
29. Sundberg, J. (1988). "Computer synthesis of music performance," in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, edited by J. A. Sloboda (Clarendon, Oxford).
30. Sundberg, J., Friberg, A., and Bresin, R. (2003). "Attempts to Reproduce a Pianist's Expressive Timing with Director Musices Performance Rules," J. New Music Res. 32(3), 317-325.
31. Thompson, W. F., and Cuddy, L. L. (1997). "Music performance and the perception of key," J. Exp. Psychol. Hum. Percept. Perform. 23(1), 116-135.
32. Todd, N. P. (1985). "A model of expressive timing in tonal music," Music Percept. 3, 33-58.
33. Todd, N. P. (1992). "The dynamics of dynamics: A model of musical expression," J. Acoust. Soc. Am. 91, 3540-3550.
34. Todd, N. P. McA. (1995). "The kinematics of musical expression," J. Acoust. Soc. Am. 97, 1940-1949.
35. Widmer, G., and Tobudic, A. (2003). "Playing Mozart by Analogy: Learning Multi-level Timing and Dynamics Strategies," J. New Music Res. 32(3), 259-268.
36. Windsor, W. L., and Clarke, E. F. (1997). "Expressive timing and dynamics in real and artificial musical performances: using an algorithm as an analytical tool," Music Percept. 15(2), 127-152.
37. Windsor, W. L., Aarts, R., Desain, P., Heijink, H., and Timmers, R. (2001). "The timing of grace notes in skilled musical performance at different tempi: a preliminary case study," Psychol. Music 29, 149-169.
38. Zanon, P., and De Poli, G. (2003a). "Time-varying estimation of parameters in rule systems for music performance," J. New Music Res. 32(3), 295-316.
39. Zanon, P., and De Poli, G. (2003b). "Estimation of parameters in rule systems for expressive rendering in musical performance," Comput. Music J. 27(1), 29-46.