Study on music perception and cognition by means of computational rendition

用一组相对较少的规则创建音乐表达，并描述由这些表达产生的对演奏的主观评价是声学和信息科学情感研究领域的一个主要问题，本研究旨在通过实验研究找出钢琴演奏中物理变量与知觉判断之间的关系。它的主要工具是用于音乐演奏物理分析的软件辅助工具和一个基于演奏模型运动设计的钢琴演奏自动化系统。研究结果包括：(1)通过演奏模型对钢琴上有意表达的身体-知觉对应的实验分析(日本声学学会杂志上的一篇论文)，(2)踏板及其相关音质的实验分析，特别是演奏者在踏板练习中的个体差异(一篇在斯德哥尔摩音乐声学会议上发表的论文)，(3)物理速度与知觉节奏感觉之间的关系(一篇将在第三届国际音乐感知与认知会议上发表的论文)，以及(4)钢琴声音在不同解释风格下的短期自相关函数的物理性质(在第14届国际声学大会上发表的一篇论文)。这些结果是在音乐表达的定量分析的共同框架下获得的。前三篇论文不仅展示了物理-知觉的对应关系，而且提出了一种新的分析方法来处理这类问题。最后一篇论文并不是一个单独完成的结果，而是为研究在特定的声场(即，特定的音乐厅)中表演Nuic时选择最佳解释风格的标准提供了理论基础。

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).