With the rapid development of computer technology, computer music has begun to appear in the laboratory. Many potential utility of computer music is gradually increasing. The purpose of this paper is attempted to analyze the possibility of integrating multimodal interaction such as vision-based hand gesture and speech interaction into musical conducting education. To achieve this purpose, this ...

Experimental studies on the relationship between quasi-musical patterns and visual movement have largely focused on either referential, associative aspects or syntactical, accent-oriented alignments. Both of these are very important, however, between the referential and areferential lays a domain where visual pattern perceptually connects to musical pattern; this is iconicity. The temporal synt...

This is an extended analysis of eight different algorithms for musical tempo extraction and beat tracking. The algorithms participated in the 2006 Music Information Retrieval Evaluation eXchange (MIREX), where they were evaluated using a set of 140 musical excerpts, each with beats annotated by 40 different listeners. Performance metrics were constructed to measure the algorithms’ abilities to ...

In this paper, we present an innovative Neural Network system interface that allows an electronic music composer to plan and conduct the musical expressivity of a performer. For musical expressivity we mean all those execution techniques and modalities that a performer has to follow in order to satisfy common musical aesthetics, as well as the desiderata of the composer. The proposed interface ...

Understanding the timbre and pitch of musical instruments is an important issue for automatic music transcription, music information retrieval and computational auditory scene analysis. In particular, recent worldwide popularization of online music distribution services and portable digital music players makes musical instrument recognition even more important. Musical instruments are one of th...

Our most fundamental concepts of musical motion and space, used by laypeople an d music theorists alike, are defined by conceptual metaphors that are based on our experience of physical motion. We analyze the 3 most important metaphors of musical motion : the "MOVING MUSIC." metaphor, the "MUSICAL LANDSCAPE" metaphor, and the "MOVING FORCE" metaphor. We show how each metaphor is grounded in a p...

Musicology students are engaged with music on an academic level and usually have an extensive musical background. They have a considerable knowledge of music history and theory and listening to music may be regarded as one of their primary occupations. Taken together, these factors qualify them as ≫expert listeners≪, who may be expected to exhibit a specific profile of musical taste: interest i...

Musical genres are categorical labels created by humans to characterize pieces of music. A musical genre is characterized by the common characteristics shared by its members. These characteristics typically are related to the instrumentation, rhythmic structure, and harmonic content of the music. Genre hierarchies are commonly used to structure the large collections of music available on the We...

The relationships between perceived multiple intelligences and musical aptitude were examined in 298 Chinese gifted students in Hong Kong. Self-perceived musical intelligence consistently emerged as the significant predictor of global musical aptitude, and its components of tonal imagery, rhythm imagery, and musical sensitivity, suggesting that self-perceptions did reflect actual abilities. How...

Real-life listening experiences contain a wide range of music types and genres. We create the first model of musical mood using a data set gathered in-situ during a user’s daily life. We show that while audio features, song lyrics and socially created tags can be used to successfully model musical mood with classification accuracies greater than chance, adding contextual information such as the...