Study on music perception and cognition by means of computational rendition

用一组相对较少的规则来创作音乐表达，并描述对这些规则所产生的表演的主观评价，是声学和信息科学情感研究领域的主要问题。本研究项目旨在通过实验研究，寻找钢琴演奏中物理变量与知觉判断之间的关系。它的主要工具是音乐表演物理分析的辅助软件和基于表演模型运动设计的钢琴表演自动化系统。结果包括：(1)通过演奏模型（发表在《日本声学学会杂志》上的一篇论文）对钢琴上意图表达的物理-感知对应关系进行实验分析；(2)对钢琴踩踏板和相关音质进行实验分析，特别是对演奏者踩踏板练习的个体差异进行实验分析（发表在斯德哥尔摩音乐声学会议上的一篇论文）；(3)物理速度与节奏感知之间的关系（论文发表于第3届国际音乐感知与认知会议）；(4)不同演绎风格下钢琴声音的短期自相关函数的物理性质（论文发表于第14届国际声学大会）。这些结果是在对音乐表达进行定量分析的共同框架中获得的。前三篇论文不仅展示了物理-感知的对应关系，而且提出了一种新的分析方法来处理这类问题。最后一篇论文本身并不是一项成果，而是为研究在给定声场（即音乐厅）演奏音乐时选择最佳演绎风格的标准提供了理论依据。

Creating musical expressions with a set of relatively small number of rules, and describing the subjective evaluation on the performances generated by those are a major problem in the emotive research field of acoustics and information sciences.This research project aims at an experimental study to find the relation between the physical variables and the perceptual judgment in the case of piano perfomances. Its main tools are software aids for physical analysis of music performance and an automated system of piano performance whose design is based on the motion of performance model. The outcomes include the following : (1) Experimental analysis on the physical - perceptual correspondence of intented expressions on the piano created via a performance model na paper in Journal of Acoustical Society of Japan), (2) Experimental analysis of pedaling and the related quality of piano sounds, especially, of the individual differences in playrs' pedaling practice (a paper presented at Stockholm Musical Acoustics Conference), (3) Relation between the physical speed and the perceptual in tempo feeling (a paper to be presented at the 3rd International Conference on Music Perception and Cognition), and (4) Physical property of piano sounds in terms of short-term autocorrelation fuctions under different styles of interpretation (a paper presented at the 14th Inernational Congress of Acoustics).These results were obtained in a common framework of quantitative analysis on the musical expression. Each of the first three papers not only shows the physical - perceptual correspondence, but also proposes a new analysis method to deal with such problems. The last paper is not an outcome completed by itself, rather, it provides a theoretical basis for research on the criterion to choose the best style of interpretation when performing nusic in a given sound field, (I.e., a given concert hall).