A Constraint-based Approach for Annotating Music Scores with Gestural Information

The physical gestures that operate music instruments are responsible for the qualities of the sound being produced in a performance. Gestural information is thereby crucial for a model of music performance, paired with a model of sound synthesis where this information is applied. The highly constrained nature of performers gestures makes this task suitable to be modeled via a constraint-based approach, coupled with a strategy aimed at maximizing the gestural comfort of performers. We illustrate the problem representation, the search strategy and a validation of the model against human performance.

[1]  Ramón López de Mántaras,et al.  Ai and Music: From Composition to Expressive Performance , 2002, AI Mag..

[2]  Tsai-Yen Li,et al.  Generating Guitar Scores from a MIDI Source , 1997 .

[3]  Richard Parncutt,et al.  Determinants of finger choice in piano sight-reading. , 1998 .

[4]  Vincenzo Lombardo,et al.  Computational Model of Chord Fingering , 2005 .

[5]  Marcelo M. Wanderley,et al.  Indirect Acquisition of Instrumental Gesture Based on Signal, Physical and Perceptual Information , 2003, NIME.

[6]  Vipin Kumar,et al.  Algorithms for Constraint-Satisfaction Problems: A Survey , 1992, AI Mag..

[7]  Johanna D. Moore,et al.  Proceedings of the 28th Annual Conference of the Cognitive Science Society , 2005 .

[8]  de MantarasRamon Lopez,et al.  AI and music from composition to expressive performance , 2002 .

[9]  François Pachet,et al.  Musical Harmonization with Constraints: A Survey , 2004, Constraints.

[10]  Detlev Zimmermann Modelling Musical Structures , 2004, Constraints.

[11]  Christian Bessiere,et al.  Domain Filtering Consistencies , 2011, J. Artif. Intell. Res..

[12]  Mika Kuuskankare,et al.  Towards Idiomatic Instrumental Writing : A Constraint Based Approach , 2001 .

[13]  Geber Ramalho,et al.  Playing along with D’Accord Guitar , 2001 .

[14]  Richard Parncutt,et al.  Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life , 1996, British Journal of Music Education.

[15]  PachetFrancois,et al.  Musical Harmonization with Constraints , 2001 .

[16]  S. Black The Musical Mind. , 1997 .

[17]  Nobuhiko Hama,et al.  Constructing a system for finger-position determination and tablature generation for playing melodies on guitars , 2004 .

[18]  Sean R Eddy,et al.  What is dynamic programming? , 2004, Nature Biotechnology.

[19]  Andrew J. Viterbi,et al.  Error bounds for convolutional codes and an asymptotically optimum decoding algorithm , 1967, IEEE Trans. Inf. Theory.

[20]  Walter D. Potter,et al.  A Genetic Algorithm for the Automatic Generation of Playable Guitar Tablature , 2005, ICMC.

[21]  Belinda Thom,et al.  Unsupervised Learning and Interactive Jazz/Blues Improvisation , 2000, AAAI/IAAI.

[22]  Vincenzo Lombardo,et al.  A segmentation-based prototype to compute string instruments fingering , 2004 .

[23]  Gerhard Widmer,et al.  Discovering simple rules in complex data: A meta-learning algorithm and some surprising musical discoveries , 2003, Artif. Intell..

[24]  Godfried T. Toussaint Algorithmic, Geometric, and Combinatorial Problems in Computational Music Theory , 2003 .

[25]  Peter Desain,et al.  An Ergonomic Model of Keyboard Fingering for Melodic Fragments Sibelius Academy of Music, Helsinski , 2022 .

[26]  Rens Bod,et al.  A Unified Model of Structural Organization in Language and Music , 2002, J. Artif. Intell. Res..

[27]  J. Sloboda The Musical Mind: The Cognitive Psychology of Music , 1987 .

[28]  Hank Heijink,et al.  On the Complexity of Classical Guitar Playing: Functional Adaptations to Task Constraints , 2002, Journal of motor behavior.

[29]  Otto E. Laske Understanding Music with AI , 1991, ICMC.

[30]  Karan Singh,et al.  Eurographics/siggraph Symposium on Computer Animation (2003) Handrix: Animating the Human Hand , 2003 .

[31]  Roman Barták,et al.  Constraint Processing , 2009, Encyclopedia of Artificial Intelligence.

[32]  Vincenzo Lombardo,et al.  Fingering for Music Performance , 2005 .

[33]  Samir I. Sayegh,et al.  Fingering for string instruments with the optimum path paradigm , 1989 .

[34]  J. Pieter Jacobs Refinements to the Ergonomic Model for Keyboard Fingering of Parncutt, Sloboda, Clarke, Raekallio, and Desain , 2001 .

[35]  Vincenzo Lombardo,et al.  A Physical Model of the Classical Guitar, Including the Player's Touch , 1999, Computer Music Journal.

[36]  D Parlitz,et al.  Assessment of dynamic finger forces in pianists: effects of training and expertise. , 1998, Journal of biomechanics.

[37]  Richard Parncutt,et al.  Talking Fingers: An Interview Study of Pianists' Views on Fingering , 1997 .

[38]  Peter F. Driessen,et al.  Path Difference Learning for Guitar Fingering Problem , 2004, ICMC.