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The Communication of Musical Expression Roger A. Kendall & Edward C. Carterette University of California, Los Angeles Reviewed by Erdem Unal.

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Presentation on theme: "The Communication of Musical Expression Roger A. Kendall & Edward C. Carterette University of California, Los Angeles Reviewed by Erdem Unal."— Presentation transcript:

1 The Communication of Musical Expression Roger A. Kendall & Edward C. Carterette University of California, Los Angeles Reviewed by Erdem Unal

2 Introduction Result: both musicians and non-musicians can discern expressive levels of instruments Experimental methods:  Categorization, matching and rating  Acoustical analyses of timing and amplitude Focuses on Performer-Musical Chain of musical communication…  BASIC QUESTION: “How does the performer convey his ideas to the listener?”

3 Background Grouping and parsing elementary thought units are basic mental capability of humans Music is conceived as basing on a system of sequences of states such as sound states, acoustic states, symbol states, mental states… At the transitions between these states, human can mentally organize a pattern.

4 Experimental Rationale Focus: To what extent are the performer’s expressive intentions conveyed to the listener. categorization: assign an instance to a model matching: compels the listener to remember rating: listener assigns values

5 Experiment Data: 5 instruments: piano, clarinet, oboe, violin and trumpet. Expert pianist performed selected pieces in three expressive levels:  No expression (mechanic)  Appropriate  Exaggerated (too much) Expert players ( clarinet, oboe, violin, trumpet) listened to these recorded performances (each expression only once) and asked to perform the intended expression level once each…

6 Experiment I (Categorization under piano performances) Results: (9 musicians) ClarinetOboe ViolinTrumpet Exp Lvl P1 P2 P3 P1 P2 P3 P1 P2 P3 P1 P2 P3 E1 8 1 0 8 1 0 9 0 0 8 1 0 E2 1 6 2 1 6 2 0 2 7 1 6 2 E3 0 1 8 0 3 6 0 7 2 0 2 7 Hit: 81 74 48 78 Results: (10 non-musicians) ClarinetOboe ViolinTrumpet Exp Lvl P1 P2 P3 P1 P2 P3 P1 P2 P3 P1 P2 P3 E1 6 3 1 6 2 2 8 1 1 8 0 2 E2 1 7 2 1 6 3 1 2 7 2 6 2 E3 2 2 6 2 2 6 1 6 3 2 3 5 Hit 63 6043 70

7 Experiment II (Categorization under other instruments) Results: (10 musicians –two sets) ClarinetOboe ViolinTrumpet Exp Lvl P1 P2 P3 P1 P2 P3 P1 P2 P3 P1 P2 P3 E1 11 7 2 10 6 4 14 2 4 14 2 4 E2 4 14 2 6 13 1 3 10 7 7 6 7 E3 2 9 9 3 5 12 1 10 9 5 2 13 Hit: 57 58 55 55 Discussion: Results are sufficient (over 33%)  First experiment gave better results

8 Experiment III (Time and Amplitude Deviation) Expressive levels are analyzed with acoustical signal processing software. Main focus at this point is timing and RMS of amp.: Time and amplitude derivations of the piano onsets and the four instruments’ expressive performances are observed. Artificial performance: synthesis of notes with the experimental values of amplitude and time

9 Exp. III cont… Correlations of Time Deviations Piano1 Oboe1 Trumpet Violin1Clarinet1 Piano11.000 Oboe1.658 1.000 Trumpet1.167.443 1.000 Violin1.038.374.222 1.000 Clarinet1.007.136.371.441 1.000

10 Exp III cont… Results: (12 non-musicians) ClarinetOboe ViolinTrumpet Exp Lvl P1 P2 P3 P1 P2 P3 P1 P2 P3 P1 P2 P3 E1 7 3 2 7 0 5 5 5 2 8 2 2 E2 4 8 0 2 8 2 2 2 8 2 6 4 E3 1 1 10 3 4 5 5 5 2 2 4 6 Hit: 69 56 33 56 Same Problem (!!!) at E2-E3  Violin Conclusion: Timing and amplitude are sufficient for categorization…

11 Experiment IV (Feature added: Rating) 10 musicians asked to rate a set of melodies that includes random selections of artificial and natural performances between 1 and 100. The mean ratings are observed:  Expressive levels are clearly shown by ratings  As a result, natural performances are more expressive…

12 Conclusion: Detailed statistical data proves: Both musicians and non-musicians can discern expressive intent along natural and artificial performances.


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