Generative Structures in Improvisation: Computational Segmentation of Keyboard Performances
Generative Structures in Improvisation: Computational Segmentation of Keyboard Performances
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即兴创作中的生成结构：键盘演奏的计算分割
DOI：
10.1080/09298215.2013.859710
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发表时间：
2014
影响因子：
1.1
通讯作者：
J. Drummond
中科院分区：
文献类型：
--
作者：
R. Dean;F. Bailes;J. Drummond
摘要我们评估的假设，阐述了按和第一作者，即兴创作通常是基于音乐功能的分段对比的产生。九位经验丰富的即兴表演者表演了一系列自由和3节的参考作品，每节约三分钟。每个球员进行了八个即兴与'referent'的指示，之前和之后的自由即兴。使用了一架配备MIDI的三角钢琴，并录制了音频和录音。通过对即兴创作数据的计算分析，评估了表演者是否成功地实现了所指对象，然后确定了自由即兴创作的大规模分割。表演者几乎总是满足参考（68/72即兴，p < 0.0001），他们的自由即兴也容易受到大规模分割（p < 0.005）。由于表演者只在会话进行时被告知所指结构，第一和第二自由即兴创作的类似分割表明，这种分割在独奏自由即兴创作中很常见，与假设雅阁。
Abstract We assessed the hypothesis elaborated by Pressing and by the first author that improvisation is normally based on the generation of segmental contrasts in musical features. Nine experienced improvisers performed a series of free- and 3-section referent-based pieces, each of about three minutes. Each player undertook eight improvisations with ‘referent’ instructions, preceded and followed by a free improvisation. A MIDI-equipped grand piano was used, and audio and MIDI were recorded. Computational analyses of the MIDI data assessed whether performers realized the referents successfully, and then determined the large-scale segmentation of the free improvisations. The performers almost always fulfilled the referents (68/72 improvisations, p < 0.0001), and their free improvisations were also susceptible to large-scale segmentation (p < 0.005). Since performers were only told of the referent structures as the session proceeded, the similar segmentation of both the first and second free improvisation suggests that such segmentation is common in solo free improvisation, in accord with the hypothesis.