Expressive morphing for interactive performance of musical scores

The fruition of musical score by means of multimedia systems requires a suitable model for automatic or interactive expressive music performance. The authors present a method for controlling the mutable musical expressiveness in an abstract way, not necessarily working directly on the acoustic parameters. Our approach integrates symbolic and audio processing in a real-time networked environment. We present a mapping strategy allowing one to control and vary the expressiveness in a coherent way, by means of an abstract "control space". All the variations computed by the model on the symbolic representation are successively managed by the signal processing sub-system which coherently transforms the sound by a combination of different audio effects. The signal processing engine works in real time to render the desired expressive audio variations. The model is used interactively in a Web-based environment. The user controls the expressive character of the performance by moving within an appropriate control space.

[1]  Edward C. Carterette,et al.  Dynamics of musical expression , 1989 .

[2]  C. Palmer.  Anatomy of a Performance: Sources of Musical Expression , 1996 .

[3]  Sergio Canazza,et al.  A Model To Add Expressiveness To Automatic Musical Performance , 1998, ICMC.

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

[5]  Gerhard Widmer,et al.  Learning expressive performance: The structure‐level approach , 1996 .

[6]  Carlo Drioli,et al.  Audio Morphing Different Expressive Intentions for Multimedia Systems , 2000, IEEE Multim..

[7]  Carlo Drioli.  Radial Basis Function Networks for Conversion of Sound Spectra , 2001, EURASIP J. Adv. Signal Process..

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

[9]  Carlo Drioli,et al.  Expressive Processing of Audio and MIDI Performances in Real Time , 1999, ICMC.

[10]  Xavier Serra,et al.  SaxEx: a case-based reasoning system for generating expressive musical performances , 1998, ICMC.

[11]  Manfred Clynes,et al.  Some Guidelines for the Synthesis and Testing of Pulse Microstructure in Relation to Musical Meaning , 1990 .

[12]  N. Todd.  The kinematics of musical expression , 1995 .

[13]  Anders Friberg,et al.  Performance Rules for Computer-Controlled Contemporary Keyboard Music , 1991 .

[14]  Giovanni De Poli,et al.  Note‐by‐note analysis of the influence of expressive intentions and musical structure in violin performance* , 1998 .

[15]  Sergio Canazza,et al.  Analysis by synthesis of the expressive intentions in musical performance , 1997, ICMC.

[16]  Sergio Canazza,et al.  Perceptual Analysis of the Musical Expressive Intention in a Clarinet Performance , 1996, Joint International Conference on Cognitive and Systematic Musicology.