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  • 1.
    Carlson, Rolf
    et al.
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Friberg, Anders
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Frydén, Lars
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Granström, Björn
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Sundberg, Johan
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Speech and music performance: parallels and contrasts1989In: Contemporary Music Review, ISSN 0749-4467, E-ISSN 1477-2256, Vol. 4, p. 389-402Article in journal (Refereed)
    Abstract [en]

    Speech and music performance are two important systems for interhuman communication by means of acoustic signals. These signals must be adapted to the human perceptual and cognitive systems. Hence a comparitive analysis of speech and music performances is likely to shed light on these systems, particularly regarding basic requirements for acoustic communication. Two computer programs are compared, one for text-to-speech conversion and one for note-to-tone conversion. Similarities are found in the need for placing emphasis on unexpected elements, for increasing the dissimilarities between different categories, and for flagging structural constituents. Similarities are also found in the code chosen for conveying this information, e.g. emphasis by lengthening and constituent marking by final lengthening. 

  • 2.
    Sundberg, Johan
    et al.
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Friberg, Anders
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Frydén, Lars
    KTH, Superseded Departments (pre-2005), Speech, Music and Hearing.
    Rules for automated performance of ensemble music1989In: Contemporary Music Review, ISSN 0749-4467, E-ISSN 1477-2256, Vol. 3, p. 89-109Article in journal (Refereed)
    Abstract [en]

    Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble playing. The effects of various rules concerning synchronization and timing and also tuning, in performance of ensemble music are evaluated by a listening panel of professional musicians. Further support for the notion of melodic clzarge, previously introduced and playing a prominent rule in the performance rules, is found in a correlation with fine tuning of intervals. 

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