Towards a Generative Theory of Interpretation for Performance Modeling

@article{Tanguiane1999TowardsAG,
  title={Towards a Generative Theory of Interpretation for Performance Modeling},
  author={Andranik Tanguiane},
  journal={Musicae Scientiae},
  year={1999},
  volume={3},
  pages={237 - 267}
}
Performance structure is described in terms of segmentation and classification of segments. Types of segments are associated with specific execution techniques. Similarly to speech, segments are shown by “performance waves” in timing and dynamics with a single common peak. Performance waves are arranged in a hierarchy corresponding to the form of the piece which can be understood rather subjectively. The interpretation score may look as an orchestral arrangement, where segments are classified… 

Figures and Tables from this paper

Music Performance Research at the Millennium
Empirical research on music performance has increased considerably during recent decades. This article updates the review of the research up to 1995 published by the current author in 1999. Covering
Les Conséquences Fondamentales Du Paradigm Connexionniste Au Sein Des Processus Cognitifs Dans Leur Rapport a La Création Musicale
La mise en perspective induite par le changement de consensus augurè par l'adoption du connexionnisme laisse apparaître une influence beaucoup plus profonde du paradigme de a connaissance au sein de

References

SHOWING 1-10 OF 41 REFERENCES
Technology of Interpretation and Expressive Pulses
  • A. Tanguiane
  • Geology
    Joint International Conference on Cognitive and Systematic Musicology
  • 1996
TLDR
A system of rules has been developed which aim to do segmentation and the First Movement of Vivaldi's Violin Concerto in G major (Op.3 No.3) is taken as an example of how to use the analysis-based method for the interpretation.
Modeling the rational basis of musical expression
TLDR
The research methodology employed in this project is similar to the philosophy followed in Widmer (1992), where a program was developed that could learn to harmonize melodies, and the hypothesis is that certain aspects of expressive performance should become explainable once the authors have a model of musical structure understanding.
The Rhythmic Interpretation of Monophonic Music
TLDR
This article develops the implications of the view that Phrasing can make an important difference to the rhythmic interpretation that the listener assigns to a given sequence and can serve a structural function as well as a purely ornamental one.
The perception of metrical structure: Experimental evidence and a new model
This paper presents experimental results which are in conflict with existing theories of metrical interpretation [H. C. Longuet‐Higgins and C. S. Lee, Perception 11, 115–128 (1989); H. C.
Time and musical structures
A theoretical model is introduced, by the aid of which descriptions of sequential and concurrent processes may be built taking account of the sophistication and generality of contemporary musical
The RUBATO Performance Workstation on NeXTSTEP
TLDR
The modular architecture of RUBATO offers a variety of approaches for theoretical and applied performance research, including a far-reaching generalization of tempo curves to all musical parameters.
Research Note. Thresholds for Detecting Tempo Change
The purpose of this study was to (a) determine thresholds for the detection of tempo change across a range of tempos, (b) compare thresholds across tempos and direction of change, and (c) examine the
Expressive Intention and Performance
This paper discusses how intentions concerning the emotional character of a piece of music affect the performance of the piece. In other words, what does a performer do to generate the intended
Grammars for music p~rformanct
  • Procudings of th~ KTH Symposium. Stockholm: KTH, Dep, of speech communication and music acoustics
  • 1995
...
1
2
3
4
5
...