Tytuł artykułu

An Accent-Based Approach to Automatic Rendering of Piano Performance: Preliminary Auditory Evaluation

Tytuł czasopisma

Archives of Acoustics

Rocznik

2011

Wolumin

vol. 36

Numer

No 2

Autorzy

Bisesi, Erica ; Parncutt, Richard

Słowa kluczowe

piano performance ; expression ; accents ; musical analysis ; Director Musices

Wydział PAN

Nauki Techniczne

Zakres

283-296

Wydawca

Polish Academy of Sciences, Institute of Fundamental Technological Research, Committee on Acoustics

Data

2011

Typ

Artykuły / Articles

Identyfikator

DOI: 10.2478/v10168-011-0022-z ; ISSN 0137-5075 ; eISSN 2300-262X

Źródło

Archives of Acoustics; 2011; vol. 36; No 2; 283-296

Referencje

Bisesi E. (2010), An accent-based approach to automatic rendering of piano performance, null, 26. ; Clarke E. (1987), The imitation of perceived rubato: A preliminary study, Psychology of Music, 15, 58, doi.org/10.1177/0305735687151005 ; Clynes M. (1977), Sentics: The touch of emotions, 4. ; Director Musices Download Page (2007), Retrieved August 14th, 2007, from KTH, Department of Speech, Music and Hearing: <a target="_blank" href='http://www.speech.kth.se/music/performance/download/dm-download.html'>http://www.speech.kth.se/music/performance/download/dm-download.html</a> ; Friberg A. (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, doi.org/10.1121/1.426687 ; Friberg A. (2006), Overview of the KTH rule system for musical performance, Advances in Cognitive Psychology, 2, 3, 145, doi.org/10.2478/v10053-008-0052-x ; Lerdahl F. (1983), A generative theory of tonal music. ; Parncutt R. (1989), Harmony: A psychoacoustical approach, doi.org/10.1007/978-3-642-74831-8 ; Parncutt R. (2003), Perspektiven und Methoden einer Systemischen Musikwissenschaft (Festschrift Fricke), 163. ; Repp B. (1992), Diversity and commonality in music performance: An analysis of timing microstructure in Schumann's Träumerei, Journal of the Acoustical Society of America, 92, 2546, doi.org/10.1121/1.404425 ; Sloboda J. (1991), Music structure and emotional response: Some empirical findings, Psychology of Music, 19, 110, doi.org/10.1177/0305735691192002 ; Sundberg J. (1988), Generative Processes in Music, 52. ; Sundberg J. (2003), Attempts to reproduce a pianist's expressive timing with Director Musices performance rules, Journal of New Music Research, 32, 3, 317, doi.org/10.1076/jnmr.32.3.317.16867 ; Todd N. (1985), A model of expressive timing in tonal music, Music Perception, 3, 33. ; Todd N. (1992), The dynamics of dynamics: A model of musical expression, Journal of the Acoustical Society of America, 91, 3540, doi.org/10.1121/1.402843 ; Todd N. (1995), The kinematics of musical expression, Journal of the Acoustical Society of America, 97, 1940, doi.org/10.1121/1.412067 ; Wojcik J. (2008), Computational complexity of the algorithm creating hypermetric rhythmic hypotheses, Archives of Acoustics, 33, 1, 57. ; Wojcik J. (2010), Advances in Music Information Retrieval, 39, doi.org/10.1007/978-3-642-11674-2_3