A performance of a piece of music heavily depends on the musician’s or conductor’s individual vision and personal interpretation of the given musical score. As basis for the analysis of artistic idiosyncrasies, one requires accurate annotations that reveal the exact timing and intensity of the various note events occurring in the performances. In the case of audio recordings, this annotation is...

Physical prowess is associated with rapid recovery from exhaustion. Here we examined whether recovery from aerobic exercise could be manipulated with a rhythmic sound pattern that either decreased or increased in tempo. Six men and six women exercised repeatedly for six minutes on a cycle ergometer at 60 percent of their individual maximal oxygen consumption, and then relaxed for six minutes wh...

A method is presented for the rhythmic parsing problem: Given a sequence of observed musical note onset times, we simultaneously estimate the corresponding notated rhythm and tempo process. A graphical model is developed that represents the evolution of tempo and rhythm and relates these hidden quantities to an observable performance. The rhythm variables are discrete and the tempo and observat...

comparable to or slightly slower than allegro. John Holden notes in his musical essay of 1770 (Part I, Chapter 5) that vivace is “near the same, but not quite so brisk a movement as Allegro,” and Daniel Gottlob Türk observes in his clavier treatise of 1789 (Chapter 1, Part 5) that “compositions which are marked Vivace are usually played too fast.” Primary sources also reveal performance practic...

The current study investigated the human ability to synchronize movements with event sequences containing continuous tempo changes. This capacity is evident, for example, in ensemble musicians who maintain precise interpersonal coordination while modulating the performance tempo for expressive purposes. Here we tested an ADaptation and Anticipation Model (ADAM) that was developed to account for...

We approach a specific scenario in real-time performance following for automatic accompaniment, where a relative tempo value is derived from the deviation between a live target performance and a stored reference, to drive the playback speed of an accompaniment track. We introduce a system which combines an online alignment process with a beat tracker. The former aligns the target performance to...

An approach of parsing piano music interpretation is presented. We focus mainly on quantifying expressive timing activities. A small number of different expressive timing behaviors (constant, slowing down, speeding up, accent) are defined in order to explain the tempo discretely. Given a MIDI performance of a piano music, we simultaneously estimate both discrete variables that corresponds to th...

This paper presents a rhythm recognition technique based on a probabilistic approach by utilizing generative model for timing information in expressive music performance. The problem of rhythm recognition including rhythm parsing and tempo tracking, is to retrieve information of rhythm and tempo from a sequence of observed note durations. Since performed note length deviates in real performance...

The research described here focuses on global tempo transformations of monophonic recordings of saxophone jazz performances. We have investigated the problem of how a performance played at a particular tempo can be automatically rendered at another tempo while preserving its expressivity. That is, listeners should not be able to notice, from the expressivity of a performance, that has been scal...

Adaptation to tempo changes in sensorimotor synchronization is hypothesized to rest on two processes, one (phase correction) being largely automatic and the other (period correction) requiring conscious awareness and attention. In this study, participants tapped their finger in synchrony with auditory sequences containing a tempo change and continued tapping after sequence termination. Their in...