Subject: Re: [AUDITORY] Tolerance time interval for piano performance recognition From: "Huron, David" <huron.1@xxxxxxxx> Date: Fri, 29 Mar 2019 10:15:06 +0000 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--_000_CY4PR01MB22167E1A90B46C06224CA31DB85A0CY4PR01MB2216prod_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Federico, Regarding timing synchronization in music performance, the work of Rudolph = Rasch is especially pertinent. If you're not already aware, the performance research from Sundberg and col= leagues at KTH offers a wealth of information. Additional work listed below= . -David Huron Bjurling, J. (2007). Timing in Piano Music: A Model of Melody Lead. Skolan = f=F6r datavetenskap och kommunikation, Kungliga Tekniska h=F6gskolan. Goebl, W. (2001). Melody lead in piano performance: Expressive device or ar= tifact?. The Journal of the Acoustical Society of America, 110(1), 563-572. Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of the = Acoustical Society of America, 31(6), 759=96767. Holmes, S. D., & Roberts, B. (2006). Inhibitory influences on asynchrony as= a cue for auditory segregation. Journal of Experimental Psychology: Human = Perception and Performance, 32(5), 1231. Llorens, A. (2017). Recorded asynchronies, structural dialogues: Brahms's A= dagio Affettuoso, Op. 99ii, in the hands of Casals and Horszowski. Music Pe= rformance Research, 8. McGookin, D. K., & Brewster, S. A. (2004). Understanding concurrent earcons= : Applying auditory scene analysis principles to concurrent earcon recognit= ion. ACM Transactions on Applied Perception (TAP), 1(2), 130-155. Mellinger, D. K. (1991). Event formation and separation in musical sound (D= octoral dissertation, Department of Computer Science, Stanford University). Rasch, R. A. (1978). The perception of simultaneous notes such as in polyph= onic music. Acustica, 40, 21=9633. Rasch, R. A. (1979). Synchronization in performed ensemble music. Acustica,= 43, 121=96131. Rasch, R. A. (1981). Aspects of the perception and performance of polyphoni= c music (Unpublished doctoral dissertation). Utrecht, Netherlands: Elinkwij= k BV. Rasch, R. A. (1988). Timing and synchronization in ensemble performance. In= J. Sloboda (Ed.), Generative processes in music: The psychology of perform= ance, improvisa- tion, and composition (pp. 70=9690). Oxford: Clarendon Pre= ss. Repp, B. H. (1996). The art of inaccuracy: Why pianists' errors are difficu= lt to hear. Music Perception: An Interdisciplinary Journal, 14(2), 161-183. Saldanha, E. L., & Corso, J. F. (1964). Timbre cues and the identification = of musical instruments. Journal of the Acoustical Society of America, 36, 2= 021=962026. Sheft, S. (2008). Envelope processing and sound-source perception. In Audit= ory perception of sound sources (pp. 233-280). Springer, Boston, MA. ________________________________ From: AUDITORY - Research in Auditory Perception <AUDITORY@xxxxxxxx>= on behalf of Federico Simonetta <federico.simonetta@xxxxxxxx> Sent: Thursday, March 28, 2019 7:37:03 AM To: AUDITORY@xxxxxxxx Subject: Tolerance time interval for piano performance recognition Dear list, I am a Ph.D. student in music informatics at the University of Milan. My pr= oject is about piano performance analysis and score-informed piano transcri= ption. I was wondering if someone here knows any study about one or more of the fo= llowing time tolerance intervals. I am interested in the threshold after wh= ich a human can recognize that in piano performances: * two or more onsets are not synchronous * two onsets are in different timing positions in respect to the previous i= dentical note offset/onset * two or more offsets are not synchronous * two notes have different durations in monophonic/polyphonic environments I have found the following related paper, but it is rather old: E. F. Clarke, =93The Perception of Expressive Timing in Music,=94 vol. 51, = no. 1, pp. 2=969, Jun. 1989. From this study, it seems that humans are able to recognize differences in = music performances even if time changes lasts only 20 ms. However, most of = the researches involving computational analysis of music performances (audi= o-to-score alignment and automatic music transcription), refer to the thres= hold of 50 ms as tolerance. I am wondering if, as of today, some more recent and in-depth research has = been carried on. Thank you very much to anyone's help! Cheers, federico --- Federico Simonetta, PhD student LIM - Music Informatics Laboratory Dept. of Computer Science University of Milano Via Celoria 18 I-20133 Milano - ITALY Skype: federico_simonetta http://www.lim.di.unimi.it http://federicosimonetta.frama.io --_000_CY4PR01MB22167E1A90B46C06224CA31DB85A0CY4PR01MB2216prod_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable <html> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3DWindows-1= 252"> <style type=3D"text/css" style=3D"display:none;"><!-- P {margin-top:0;margi= n-bottom:0;} --></style> </head> <body dir=3D"ltr"> <div id=3D"divtagdefaultwrapper" style=3D"font-size:12pt;color:#000000;font= -family:Calibri,Helvetica,sans-serif;" dir=3D"ltr"> <p>Federico,</p> <p><br> </p> <p>Regarding timing synchronization in music performance, t<span style=3D"f= ont-size: 12pt;">he work of Rudolph Rasch is especially pertinent.</span></= p> <p>If you're not already aware, the performance research from <span st= yle=3D"font-size: 12pt;">Sundberg and colleagues at KTH offers a wealth of = information. Additional work listed below.</span></p> <p><br> </p> <p>-David Huron</p> <p><br> </p> <p>Bjurling, J. (2007). Timing in Piano Music: A Model of Melody Lead. Skol= an f=F6r datavetenskap och kommunikation, Kungliga Tekniska h=F6gskolan.</p= > <p>Goebl, W. (2001). Melody lead in piano performance: Expressive device or= artifact?. The Journal of the Acoustical Society of America, 110(1), 563-5= 72.</p> <p>Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of t= he Acoustical Society of America, 31(6), 759=96767.</p> <p>Holmes, S. D., & Roberts, B. (2006). Inhibitory influences on asynch= rony as a cue for auditory segregation. Journal of Experimental Psychology:= Human Perception and Performance, 32(5), 1231.</p> <p>Llorens, A. (2017). Recorded asynchronies, structural dialogues: Brahms'= s Adagio Affettuoso, Op. 99ii, in the hands of Casals and Horszowski. Music= Performance Research, 8.</p> <p>McGookin, D. K., & Brewster, S. A. (2004). Understanding concurrent = earcons: Applying auditory scene analysis principles to concurrent earcon r= ecognition. ACM Transactions on Applied Perception (TAP), 1(2), 130-155.</p= > <p>Mellinger, D. K. (1991). Event formation and separation in musical sound= (Doctoral dissertation, Department of Computer Science, Stanford Universit= y).</p> <p>Rasch, R. A. (1978). The perception of simultaneous notes such as in pol= yphonic music. Acustica, 40, 21=9633.</p> <p>Rasch, R. A. (1979). Synchronization in performed ensemble music. Acusti= ca, 43, 121=96131.</p> <p>Rasch, R. A. (1981). Aspects of the perception and performance of polyph= onic music (Unpublished doctoral dissertation). Utrecht, Netherlands: Elink= wijk BV.</p> <p>Rasch, R. A. (1988). Timing and synchronization in ensemble performance.= In J. Sloboda (Ed.), Generative processes in music: The psychology of perf= ormance, improvisa- tion, and composition (pp. 70=9690). Oxford: Clarendon = Press.</p> <p>Repp, B. H. (1996). The art of inaccuracy: Why pianists' errors are diff= icult to hear. Music Perception: An Interdisciplinary Journal, 14(2), 161-1= 83.</p> <p>Saldanha, E. L., & Corso, J. F. (1964). Timbre cues and the identifi= cation of musical instruments. Journal of the Acoustical Society of America= , 36, 2021=962026.</p> <p>Sheft, S. (2008). Envelope processing and sound-source perception. In Au= ditory perception of sound sources (pp. 233-280). Springer, Boston, MA.</p> <p><br> </p> <p><br> </p> <p><br> </p> </div> <hr style=3D"display:inline-block;width:98%" tabindex=3D"-1"> <div id=3D"divRplyFwdMsg" dir=3D"ltr"><font face=3D"Calibri, sans-serif" st= yle=3D"font-size:11pt" color=3D"#000000"><b>From:</b> AUDITORY - Research i= n Auditory Perception <AUDITORY@xxxxxxxx> on behalf of Federic= o Simonetta <federico.simonetta@xxxxxxxx><br> <b>Sent:</b> Thursday, March 28, 2019 7:37:03 AM<br> <b>To:</b> AUDITORY@xxxxxxxx<br> <b>Subject:</b> Tolerance time interval for piano performance recognition</= font> <div> </div> </div> <div class=3D"BodyFragment"><font size=3D"2"><span style=3D"font-size:11pt;= "> <div class=3D"PlainText">Dear list,<br> I am a Ph.D. student in music informatics at the University of Milan. My pr= oject is about piano performance analysis and score-informed piano transcri= ption.<br> <br> I was wondering if someone here knows any study about one or more of the fo= llowing time tolerance intervals. I am interested in the threshold after wh= ich a human can recognize that in piano performances: <br> <br> * two or more onsets are not synchronous<br> * two onsets are in different timing positions in respect to the previous i= dentical note offset/onset<br> * two or more offsets are not synchronous<br> * two notes have different durations in monophonic/polyphonic environments<= br> <br> I have found the following related paper, but it is rather old:<br> E. F. Clarke, =93The Perception of Expressive Timing in Music,=94 vol. 51, = no. 1, pp. 2=969, Jun. 1989.<br> <br> From this study, it seems that humans are able to recognize differences in = music performances even if time changes lasts only 20 ms. However, most of = the researches involving computational analysis of music performances (audi= o-to-score alignment and automatic music transcription), refer to the threshold of 50 ms as tolerance.<br> <br> I am wondering if, as of today, some more recent and in-depth research has = been carried on.<br> <br> Thank you very much to anyone's help!<br> <br> Cheers,<br> federico<br> <br> ---<br> <br> Federico Simonetta, PhD student<br> <br> LIM - Music Informatics Laboratory <br> Dept. of Computer Science <br> University of Milano <br> Via Celoria 18 <br> I-20133 Milano - ITALY <br> <br> Skype: federico_simonetta<br> <a href=3D"http://www.lim.di.unimi.it">http://www.lim.di.unimi.it</a><br> <a href=3D"http://federicosimonetta.frama.io">http://federicosimonetta.fram= a.io</a><br> </div> </span></font></div> </body> </html> --_000_CY4PR01MB22167E1A90B46C06224CA31DB85A0CY4PR01MB2216prod_--