Werner Goebl

Learn More
  • Werner Goebl
  • The Journal of the Acoustical Society of America
  • 2001
As reported in the recent literature on piano performance, an emphasized voice (the melody) tends to be played not only louder than the other voices, but also about 30 ms earlier (melody lead). It remains unclear whether pianists deliberately apply melody lead to separate different voices, or whether it occurs because the melody is played louder (velocity(More)
This paper introduces a new method for an integrated display of tempo and loudness variations as measured in expressive music performance. This visualization technique includes data acquisition from both MIDI instruments and audio recordings, data reduction by smoothing measured performance data, and animated display on computer screen in synchrony with the(More)
This paper proposes novel computer-based interfaces for piano practicing. They are designed to display in real time certain well-defined sub-aspects of piano playing. They are intelligent and unobtrusive in that they adjust automatically to the needs of the practitioner so that no other interaction is needed than moving the piano keys. They include 1) a(More)
Sequential actions such as playing a piano or tapping in synchrony to an external signal put high cognitive and motor demands on producers, including the generation of precise timing at a wide variety of rates. Tactile information from the fingertips has been shown to contribute to the control of timing in finger tapping tasks. We addressed the hypothesis(More)
In an expressive performance, a skilled musician shapes the music by continuously modulating aspects like tempo and loudness to communicate high level information such as musical structure and emotion. Although automatic modelling of this phenomenon remains beyond the current state of the art, we present a system that is able to measure tempo and dynamics(More)
This study investigated the temporal behavior of grand piano actions from different manufacturers under different touch conditions and dynamic levels. An experimental setup consisting of accelerometers and a calibrated microphone was used to capture key and hammer movements, as well as the sound signal. Five selected keys were played by pianists with two(More)
Skilled musicians are able to shape a given piece of music (by continuously modulating aspects like tempo, loudness, etc.) to communicate high level information such as musical structure and emotion. This activity is commonly referred to as expressive music performance. The present paper presents another step towards the automatic high-level analysis of(More)
Skilled piano performance requires considerable movement control to accomplish the high levels of timing and force precision common among professional musicians, who acquire piano technique over decades of practice. Finger movement efficiency in particular is an important factor when pianists perform at very fast tempi. We document the finger movement(More)
This chapter gives an introduction to basic directions of current research in expressive music performance. A special focus is given on the various methods to acquire performance data either during a performance (e.g., through computer-monitored instruments) or from audio recordings. We then survey computational approaches to formalise and model the various(More)
This paper presents an exploratory approach to analyzing large amounts of expressive performance data. Tempo and loudness information was derived semi-automatically from audio recordings of six famous pianists each playing six complete pieces by Chopin. The two-dimensional data was segmented into musically relevant phrases, normalized, and smoothed in(More)