Subject: Re: [AUDITORY] Tolerance time interval for piano performance recognition From: Pierre Divenyi <pdivenyi@xxxxxxxx> Date: Fri, 29 Mar 2019 21:35:27 -0700 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>This is a multi-part message in MIME format. --------------A8A935B3DF3EF1D7606A66E8 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum2.it.mcgill.ca id x2U4ZVhf029592 David, Your list of studies is quite interesting. May I add one you forgot to=20 mention? Divenyi, P. L. and Hirsh, I.J. (1978). Some figural properties of=20 auditory patterns. The Journal of the Acoustical Society of America,=20 64(5), 1369-1385. Cheers, Pierre On 3/29/19 3:15 AM, Huron, David wrote: > > Federico, > > > Regarding timing synchronization in music performance, the work of=20 > Rudolph Rasch is especially pertinent. > > If you're not already aware, the performance research from Sundberg=20 > and colleagues at KTH offers a wealth of information. Additional work=20 > listed below. > > > -David Huron > > > Bjurling, J. (2007). Timing in Piano Music: A Model of Melody Lead.=20 > Skolan f=F6r datavetenskap och kommunikation, Kungliga Tekniska h=F6gsk= olan. > > Goebl, W. (2001). Melody lead in piano performance: Expressive device=20 > or artifact?. The Journal of the Acoustical Society of America,=20 > 110(1), 563-572. > > Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of=20 > the Acoustical Society of America, 31(6), 759=96767. > > Holmes, S. D., & Roberts, B. (2006). Inhibitory influences on=20 > asynchrony as a cue for auditory segregation. Journal of Experimental=20 > Psychology: Human Perception and Performance, 32(5), 1231. > > Llorens, A. (2017). Recorded asynchronies, structural dialogues:=20 > Brahms's Adagio Affettuoso, Op. 99ii, in the hands of Casals and=20 > Horszowski. Music Performance Research, 8. > > McGookin, D. K., & Brewster, S. A. (2004). Understanding concurrent=20 > earcons: Applying auditory scene analysis principles to concurrent=20 > earcon recognition. ACM Transactions on Applied Perception (TAP),=20 > 1(2), 130-155. > > Mellinger, D. K. (1991). Event formation and separation in musical=20 > sound (Doctoral dissertation, Department of Computer Science, Stanford=20 > University). > > Rasch, R. A. (1978). The perception of simultaneous notes such as in=20 > polyphonic music. Acustica, 40, 21=9633. > > Rasch, R. A. (1979). Synchronization in performed ensemble music.=20 > Acustica, 43, 121=96131. > > Rasch, R. A. (1981). Aspects of the perception and performance of=20 > polyphonic music (Unpublished doctoral dissertation). Utrecht,=20 > Netherlands: Elinkwijk BV. > > Rasch, R. A. (1988). Timing and synchronization in ensemble=20 > performance. In J. Sloboda (Ed.), Generative processes in music: The=20 > psychology of performance, improvisa- tion, and composition (pp.=20 > 70=9690). Oxford: Clarendon Press. > > Repp, B. H. (1996). The art of inaccuracy: Why pianists' errors are=20 > difficult to hear. Music Perception: An Interdisciplinary Journal,=20 > 14(2), 161-183. > > Saldanha, E. L., & Corso, J. F. (1964). Timbre cues and the=20 > identification of musical instruments. Journal of the Acoustical=20 > Society of America, 36, 2021=962026. > > Sheft, S. (2008). Envelope processing and sound-source perception. In=20 > Auditory perception of sound sources (pp. 233-280). Springer, Boston, M= A. > > > > > -----------------------------------------------------------------------= - > *From:* AUDITORY - Research in Auditory Perception=20 > <AUDITORY@xxxxxxxx> on behalf of Federico Simonetta=20 > <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.=20 > My project is about piano performance analysis and score-informed=20 > piano transcription. > > I was wondering if someone here knows any study about one or more of=20 > the following time tolerance intervals. I am interested in the=20 > threshold after which 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=20 > previous identical note offset/onset > * two or more offsets are not synchronous > * two notes have different durations in monophonic/polyphonic environme= nts > > 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,=20 > no. 1, pp. 2=969, Jun. 1989. > > From this study, it seems that humans are able to recognize=20 > differences in music performances even if time changes lasts only 20=20 > ms. However, most of the researches involving computational analysis=20 > of music performances (audio-to-score alignment and automatic music=20 > transcription), refer to the threshold of 50 ms as tolerance. > > I am wondering if, as of today, some more recent and in-depth research=20 > 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 --------------A8A935B3DF3EF1D7606A66E8 Content-Type: text/html; charset=windows-1252 Content-Transfer-Encoding: quoted-printable X-MIME-Autoconverted: from 8bit to quoted-printable by edgeum2.it.mcgill.ca id x2U4ZVhf029592 <html> <head> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3Dwindows-1252"> </head> <body text=3D"#000000" bgcolor=3D"#FFFFFF"> <font face=3D"Calibri">David, <br> <br> Your list of studies is quite interesting. May I add one you forgot to mention?<br> Divenyi, P. L. and Hirsh, I.J. (1978). Some figural properties of auditory patterns. T</font><font face=3D"Calibri">he Journal of the Acoustical Society of America, 64(5), 1369-1385.<br> <br> Cheers,<br> Pierre<br> <br> </font> <div class=3D"moz-cite-prefix">On 3/29/19 3:15 AM, Huron, David wrote= :<br> </div> <blockquote type=3D"cite" cite=3D"mid:CY4PR01MB22167E1A90B46C06224CA31DB85A0@xxxxxxxx= hangelabs.com"> <meta http-equiv=3D"Content-Type" content=3D"text/html; charset=3Dwindows-1252"> <style type=3D"text/css" style=3D"display:none;"><!-- P {margin-top= :0;margin-bottom:0;} --></style> <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"font-size: 12pt;">he work of Rudolph Rasch is especially pertinent.</span></p> <p>If you're not already aware, the performance research from=A0<= span style=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. Skolan 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), 563-572.</p> <p>Hirsh, I. J. (1959). Auditory perception of temporal order. Journal of the Acoustical Society of America, 31(6), 759=96767.= </p> <p>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.</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 recognition. 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 University).</p> <p>Rasch, R. A. (1978). The perception of simultaneous notes such as in polyphonic music. Acustica, 40, 21=9633.</p> <p>Rasch, R. A. (1979). Synchronization in performed ensemble music. Acustica, 43, 121=96131.</p> <p>Rasch, R. A. (1981). Aspects of the perception and performance of polyphonic music (Unpublished doctoral dissertation). Utrecht, Netherlands: Elinkwijk BV.</p> <p>Rasch, R. A. (1988). Timing and synchronization in ensemble performance. In J. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisa- tion, and composition (pp. 70=9690). Oxford: Clarendon Press.</p> <p>Repp, B. H. (1996). The art of inaccuracy: Why pianists' errors are difficult to hear. Music Perception: An Interdisciplinary Journal, 14(2), 161-183.</p> <p>Saldanha, E. L., & Corso, J. F. (1964). Timbre cues and the identification 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 Auditory 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 style=3D"font-size:11pt= " face=3D"Calibri, sans-serif" color=3D"#000000"><b>From:</b> AUDITORY - Research in Auditory Perception <a class=3D"moz-txt-link-rfc2396E" href=3D"mailto:AUDITORY@xxxxxxxx= S.MCGILL.CA"><AUDITORY@xxxxxxxx></a> on behalf of Federico Simonetta <a class=3D"moz-txt-link-rfc2396E" href=3D"mailto:fed= erico.simonetta@xxxxxxxx"><federico.simonetta@xxxxxxxx></a><br> <b>Sent:</b> Thursday, March 28, 2019 7:37:03 AM<br> <b>To:</b> <a class=3D"moz-txt-link-abbreviated" href=3D"mailto= :AUDITORY@xxxxxxxx">AUDITORY@xxxxxxxx</a><br> <b>Subject:</b> Tolerance time interval for piano performance recognition</font> <div>=A0</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 project is about piano performance analysis and score-informed piano transcription.<br> <br> I was wondering if someone here knows any study about one or more of the following time tolerance intervals. I am interested in the threshold after which a human can recognize that in piano performances:=A0 <br> <br> * two or more onsets are not synchronous<br> * two onsets are in different timing positions in respect to the previous identical 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 (audio-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" moz-do-not-send=3D"true">http://www.lim.di.unimi.it</a><b= r> <a href=3D"http://federicosimonetta.frama.io" moz-do-not-send=3D"true">http://federicosimonetta.frama.i= o</a><br> </div> </span></font></div> </blockquote> <br> </body> </html> --------------A8A935B3DF3EF1D7606A66E8--