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Contains fulltext : 74806.pdf (author's version ) (Open Access) The value of the computational approach in the cognitive sciences lays both in the need to formalize theories such that they can be implemented as computer programs and in the subsequent ease of experimenting with these programs. In this paper I hope to show that, the cleaner a programming style is used, the more these benefits will be present. As an example, the musical parser designed and described by Longuet-Higgins is re-implemented in a clean functional programming style in LISP. This yields a, so called, micro version that makes the theoretical issues that the original program was supposed to illustrate, stand out much more clearly.

Contains fulltext : 74807.pdf (Publisher’s version ) (Open Access)

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Contains fulltext : 74739.pdf (Publisher’s version ) (Closed access) Kyoto International Conference Hall, 4 - 9 April 2004

Contains fulltext : 74670.pdf (Publisher’s version ) (Closed access) The aim of this study is to investigate the linguistic impact on rhythm in music. It has been shown that the composer’s native language exerts an influence on the music composed [10] using the normalized Pairwise Variability Index [5]. Our project aims at finding more evidence for the linguistic impact on musical rhythms in various kinds of music and language. In this study we apply the same index to analyze popular music with English and Japanese lyrics composed by Japanese composers to investigate an influence of the language of the lyrics on musical rhythm. Results showed a slight but significant tendency which supports the prediction that musical rhythm reflects certain aspects of the characteristics of the language of the lyrics.

Item does not contain fulltext This study examines the timing of grace notes by separating the timing variation caused by the grace note from the expressive timing profile of the "plain" musical excerpt. In addition, scaling behavior of the two kinds of timing variations are examined over a wide, but musical, range of tempi. In an experiment, eight professional pianists performed three fragments of three bars from a Theme by Beethoven. They repeated each fragment eight times, performed it with and without grace notes and in seven different tempi. The tempi were indicated by a metronome before each tempo block and by a mechanical introduction to each repetition of a fragment. Preliminary results show that (for this piece of music) there is a limited number of (consistent) ways to time a grace note. Short grace notes do not scale with tempo, but have a fixed (short) duration, while longer grace notes do scale with tempo. The scaling of longer grace notes is however never proportional to tempo. Interestingly, the timing variation due to absence or presence of a grace note is much more consistent between pianists than the expressive timing patterns are. Also, though the scaling of expressive timing patterns with tempo is complex and non-linear, their scaling behavior is unaffected by the presence or absence of a grace note. These observations suppose that there is some kind of modularity within the timing of notes, such that temporal changes at one level do not necessarily influence all other aspects of timing.

Item does not contain fulltext Vibrato, the periodic fluctuations of pitch, amplitude and/or timbre, is an important expressive component of musical performances, especially for singers and string players. Next to measuring its characteristics in isolation we believe it is important to relate it to other temporal aspects of performance (global tempo, expressive timing, rhythmic structure), especially since we have discovered that some intriguing hypotheses about such relationships exist in the literature and in the intuitive knowledge of musicians. In this paper we will focus mainly on pitch-vibrato. We will describe an experimental methodology (including ways to extract fundamental pitch from audio data) which was developed to check various hypotheses. Experiments were conducted using a fragment of the "Cygne" piece of Saint-Saens for five different instruments (violin, cello, tenor, theremin, oboe) in different tempi. The questions addressed are the following: Is vibrato rate adapted to tempo; is vibrato phase adapted to the timing of the end of the note; how is the vibrato contour adapted to note duration; are vibrato cycles somehow synchronized to the pulse at a small metrical level? Results will be presented that lead to answers to these questions.

Item does not contain fulltext August 5-10, 2000, Keele University, United Kingdom

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Item does not contain fulltext Thessaloniki, Hellas 25 - 30 September 1997

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Contains fulltext : 74808.pdf (author's version ) (Open Access) Part 3 of 3

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Item does not contain fulltext the Banff Centre for the Arts, September 3 - 7, 1995.

Contains fulltext : 74753.pdf (author's version ) (Open Access)

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