Articulation Rules For Automatic Music Performance

Rules for legato, staccato, and repeated notes articulation in automatic piano performance are presented. These rules were obtained applying the analysis-by-measurement method to performances of Mozart piano sonatas on MIDIfied acoustic grand pianos. The effects produced by the rules vary with tempo indications, with expressive intentions and with musical context. The articulation rules are part of the Director Musices system for automatic music performance. It has been demonstrated that proper setting of the articulation rules enables more realistic automatic performances that can also differ in emotional expression. These rules are also being applied in control models for sound synthesis algorithms.

[1]  C. Palmer.  Mapping musical thought to musical performance. , 1989, Journal of experimental psychology. Human perception and performance.

[2]  Anders Friberg,et al.  Toward a new model for sound control , 2001 .

[3]  P. Juslin,et al.  Emotional Expression in Music Performance: Between the Performer's Intention and the Listener's Experience , 1996 .

[4]  Gerhard Widmer,et al.  Production of staccato articulation in Mozart sonatas played on a grand piano. : Preliminary results , 2000 .

[5]  Roberto Bresin,et al.  Articulation Strategies in Expressive Piano Performance Analysis of Legato, Staccato, and Repeated Notes in Performances of the Andante Movement of Mozart’s Sonata in G Major (K 545) , 2000 .

[6]  Anders Friberg,et al.  Emotional Coloring of Computer-Controlled Music Performances , 2000, Computer Music Journal.

[7]  B H Repp,et al.  Acoustics, perception, and production of legato articulation on a digital piano. , 1995, The Journal of the Acoustical Society of America.

[8]  Erik V. Jansson,et al.  From touch to string vibrations. I: Timing in the grand piano action , 1990 .

[9]  Robert H. Woody.  Perceptibility of changes in piano tone articulation. , 1997 .

[10]  Max V. Mathews,et al.  How to make a slur , 1975 .

[11]  P. Juslin,et al.  Toward a computational model of expression in music performance: The GERM model , 2001 .

[12]  L. H. Shaffer,et al.  Performances of Chopin, Bach, and Bartok: Studies in motor programming , 1981, Cognitive Psychology.

[13]  Reinhard Steinberg.  Music and the Mind Machine: The Psychophysiology and Psychopathology of the Sense of Music , 1995 .

[14]  Gerhard Widmer,et al.  Inductive Learning of General and Robust Local Expression Principles , 2001, International Conference on Mathematics and Computing.

[15]  Alf Gabrielsson,et al.  Expressive Intention and Performance , 1995 .

[16]  Bruno H. Repp,et al.  Perception and Production of Staccato Articulation on the Piano , 1999 .

[17]  Johan Sundberg,et al.  Generating Musical Performances with Director Musices , 2000, Computer Music Journal.

[18]  Jim Purbrick.  Automatic Synthesizer Articulation , 2000, Computer Music Journal.

[19]  B H Repp,et al.  Acoustics, perception, and production of legato articulation on a computer-controlled grand piano. , 1997, The Journal of the Acoustical Society of America.

[20]  Roger B. Dannenberg,et al.  Combining Instrument and Performance Models for High-Quality Music Synthesis , 1998 .