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

• Autorzy: Bisesi E. , Parncutt R.
• Języki publikacji: EN

Abstrakty

EN

We are exploring the relationship between accents and expression in piano performance. Accents are local events that attract a listener’s attention and are either evident from the score (immanent) or added by the performer (performed). Immanent accents are associated with grouping (phrasing), metre, melody and harmony. In piano music, performed accents involve changes in timing, dynamics, articulation, and pedalling; they vary in amplitude, form, and duration. We analyzed the first eight bars of Chopin Prelude op. 28 n. 6. In a separate study, music theorists had marked grouping, melodic and harmonic accents on the score and estimated the importance (salience) of each. Here, we mathematically modeled timing and dynamics in the prelude in two ways using Director Musices (DM) – a software package for automatic rendering of expressive performance. The first rendering focused on phrasing following existing and tested procedures in DM. The second focused on accents – timing and dynamics in the vicinity of the accents identified by the theorists. In an informal listening test, 10 out of 12 participants (5 of 6 musicians and 5 of 6 non-musicians) preferred the accent-based formulation, and several stated that it had more variation of timing and dynamics from one phrase to the next.

Słowa kluczowe

EN

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

• Wydawca: Instytut Podstawowych Problemów Techniki PAN ; Komitet Akustyki PAN ; Polskie Towarzystwo Akustyczne
• Czasopismo: Archives of Acoustics
• Rocznik: 2011
• Tom: Vol. 36, No. 2
• Strony: 283--296
• Opis fizyczny: Bibliogr. 18 poz., tab., wykr.

Twórcy

autor

Bisesi E.

autor

Parncutt R.

• University of Graz Center for Systematic Musicology Merangasse 70, 8010 Graz, Austria,

Bibliografia

• 1. Bisesi E., Parncutt R. (2010), An accent-based approach to automatic rendering of piano performance, Proceedings of the Second Vienna Talk on Music Acoustics, pp. 26-30, Vienna.
• 2. Clarke E., Baker-Short C. (1987), The imitation of perceived rubato: A preliminary study, Psychology of Music, 15, 58-75.
• 3. Clynes M. (1977), Sentics: The touch of emotions, Doubleday Anchor, New York.
• 4. Director Musices Download Page (2007), Retrieved August 14th, 2007, from KTH, Department of Speech, Music and Hearing: http://www.speech.kth.se/music/performance/download/dm-download.html
• 5. Friberg A., Sundberg J. (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, 1469-1483.
• 6. Friberg A., Bresin R., Sundberg J. (2006), Overview of the KTH rule system for musical performance, Advances in Cognitive Psychology, 2, 3, 145-161.
• 7. Lerdahl F., Jackendoff R. (1983), A generative theory of tonal music, MIT Press, Cambridge, MA.
• 8. Parncutt R. (1989), Harmony: A psychoacoustical approach, Springer Verlag, Berlin.
• 9. Parncutt R. (2003), Accents and expression in piano performance, [in:] Perspektiven und Methoden einer Systemischen Musikwissenschaft (Festschrift Fricke), Niemöller K.V. [Ed.], pp. 163-185, Peter Lang, Frankfurt/Main, Germany.
• 10. 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, 2546-2568.
• 11. Sloboda J.A. (1991), Music structure and emotional response: Some empirical findings, Psychology of Music, 19, 110-120.
• 12. Sundberg J. (1988), Computer synthesis of music performance, [in:] Generative Processes in Music, Sloboda J.A. [Ed.], pp. 52-70, The Clarendon Press, Oxford.
• 13. Sundberg J., Friberg A., Bresin R. (2003), Attempts to reproduce a pianist's expressive timing with Director Musices performance rules, Journal of New Music Research, 32, 3, 317-325.
• 14. Todd N.P. (1985), A model of expressive timing in tonal music, Music Perception, 3, 33-58.
• 15. Todd N.P. (1992), The dynamics of dynamics: A model of musical expression, Journal of the Acoustical Society of America, 91, 3540-3550.
• 16. Todd N.P. (1995), The kinematics of musical expression, Journal of the Acoustical Society of America, 97, 1940-1949.
• 17. Wojcik J., Kostek B. (2008), Computational complexity of the algorithm creating hypermetric rhythmic hypotheses, Archives of Acoustics, 33, 1, 57-63.
• 18. Wójcik J., Kostek B. (2010), Representations of music in ranking rhythmic hypotheses, [in:] Advances in Music Information Retrieval, Ras Z.W., Wieczorkowska A. [Eds.], SCI 274, pp. 39-64, Springer Verlag, Berlin Heidelberg.