Lecture Notes in Computer Science 7900

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1 Lecture Notes in Computer Science 7900 Commenced Publication in 1973 Founding and Former Series Editors: Gerhard Goos, Juris Hartmanis, and Jan van Leeuwen Editorial Board David Hutchison Lancaster University, UK Takeo Kanade Carnegie Mellon University, Pittsburgh, PA, USA Josef Kittler University of Surrey, Guildford, UK Jon M. Kleinberg Cornell University, Ithaca, NY, USA Alfred Kobsa University of California, Irvine, CA, USA Friedemann Mattern ETH Zurich, Switzerland John C. Mitchell Stanford University, CA, USA Moni Naor Weizmann Institute of Science, Rehovot, Israel Oscar Nierstrasz University of Bern, Switzerland C. Pandu Rangan Indian Institute of Technology, Madras, India Bernhard Steffen TU Dortmund University, Germany Madhu Sudan Microsoft Research, Cambridge, MA, USA Demetri Terzopoulos University of California, Los Angeles, CA, USA Doug Tygar University of California, Berkeley, CA, USA Gerhard Weikum Max Planck Institute for Informatics, Saarbruecken, Germany

2 Mitsuko Aramaki Mathieu Barthet Richard Kronland-Martinet Sølvi Ystad (Eds.) From Sounds to Music and Emotions 9th International Symposium, CMMR 2012 London, UK, June 19-22, 2012 Revised Selected Papers 13

3 Volume Editors Mitsuko Aramaki Richard Kronland-Martinet Sølvi Ystad Centre National de la Recherche Scientifique Laboratoire de Mécanique Acoustique 31 Chemin Joseph Aiguier, Marseille Cedex 20, France {aramaki, kronland, Mathieu Barthet Queen Mary University of London Centre for Digital Music Mile End Road, London E1 4NS, UK ISSN e-issn ISBN e-isbn DOI / Springer Heidelberg New York Dordrecht London Library of Congress Control Number: CR Subject Classification (1998): J.5, H.5, C.3, H.5.5, G.3, I.5 LNCS Sublibrary: SL 3 Information Systems and Application, incl. Internet/Web and HCI Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher s location, in its current version, and permission for use must always be obtained from Springer. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Violations are liable to prosecution under the respective Copyright Law. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. While the advice and information in this book are believed to be true and accurate at the date of publication, neither the authors nor the editors nor the publisher can accept any legal responsibility for any errors or omissions that may be made. The publisher makes no warranty, express or implied, with respect to the material contained herein. Typesetting: Camera-ready by author, data conversion by Scientific Publishing Services, Chennai, India Printed on acid-free paper Springer is part of Springer Science+Business Media (

4 Preface The 9th International Symposium on Computer Music Modeling and Retrieval, CMMR2012 Music & Emotions took place at Queen Mary University, June 19 22, This symposium, which was initiated in 2003, has been organized in several European countries as well as in the East (Bhubaneswar, India), and was this year jointly organized by the Centre for Digital Music, London, and the CNRS - Laboratoire de Mécanique et d Acoustique, Marseille. The post proceedings of the previous CMMR conferences were all published in the Lecture Notes in Computer Sciences Series (LNCS 2771, LNCS 3310, LNCS 3902, LNCS 4969, LNCS 5493, LNCS 5954, LNCS 6684, LNCS 7172). A total of 150 delegates from 24 different countries were gathered during the 4 days of the conference and the various contributions included oral sessions, posters, demos, panels and tutorials. In line with previous CMMR events, a multi-disciplinary approach associating traditional music information retrieval (MIR) and sound modeling topics with human perception and cognition, musicology, and philosophy was exposed. In addition, music submissions were solicited within the framework of the CMMR2012 New Resonances music festival that was held each evening at Wilton s Music Hall. A Cross-Disciplinary Perspectives on Expressive Performance Workshop was also organized by Andrew McPherson (Queen Mary University) on the first day of the conference. This year, CMMR2012 put a special emphasis on music and emotion related research topics. Music and emotion have been subject to a large number of studies in varied fields of research. For instance, within the field of cognitive science, music-induced emotions as well as the positive affect music can have on intellectual faculties have been thoroughly investigated. Various types of expressive intentions between composers, performers and listeners have also been examined by musicologists and psychologists. From a different standpoint, music informatics researchers have employed machine learning algorithms to discover relationships between objective features computed from audio recordings and subjective mood labels given by human listeners. In spite of all these investigations, the understanding of the genesis of musical emotions and the mapping between musical structures and emotional responses remain unanswered research problems. Three prominent keynote speakers with considerably different backgrounds and links to the conference theme (i.e., Pr. Laurent Daudet from Paris Diderot University, Pr. Patrik N. Juslin from Uppsala University and film score composer and producer Simon Boswell) gave high quality presentations of their respective domains. The conference contributions were distributed in seven technical sessions, two poster sessions, one demo session, two panel sessions, three concerts, two tutorials and a workshop. Among these contributions, 28 papers were

5 VI Preface selected for the present post proceedings edition, which is divided into seven sections corresponding to the technical sessions and an 8th session in which four workshop contributions are selected. We would first of all like to thank all the participants of CMMR2012 who strongly contributed to the success of this conference. We would also like to thank the Program Committee members for their indispensable paper reports and the Music Committee for the difficult task of selecting the artistic contributions. We are particularly grateful to the local Organizing Committee at Queen Mary University who made sure that all the practical issues were under control. Finally, we would like to thank Springer for agreeing to publish the CMMR2012 post proceedings in their LNCS series. June 2013 Mitsuko Aramaki Mathieu Barthet Richard Kronland-Martinet Sølvi Ystad

6 Organization The 9th International Symposium on Computer Music Modeling and Retrieval (CMMR2012) was jointly organized by the Centre for Digital Music, London, and the CNRS - Laboratoire de Mécanique et d Acoustique (Centre National de la Recherche Scientifique), Marseille, France. Symposium Chairs Mathieu Barthet Simon Dixon Proceedings Chairs Richard Kronland-Martinet Sølvi Ystad Mitsuko Aramaki Mathieu Barthet Simon Dixon Paper and Program Chairs Richard Kronland-Martinet Mitsuko Aramaki Sølvi Ystad Panos Kudumakis Expressive Performance Workshop Chair Andrew McPherson

7 VIII Organization Committees Local Organizing Committee Daniele Barchiesi Emmanouil Benetos Luis Figueira Dimitrios Giannoulis Steven Hargreaves Tom Heathcote Sefki Kolozali Sue White Program Committee Mitsuko Aramaki Federico Avanzini Isabel Barbancho Mathieu Barthet Roberto Bresin Marcelo Caetano Antonio Camurri Kevin Dahan Olivier Derrien Simon Dixon Barry Eaglestone George Fazekas Cédric Févotte Bruno Giordano Emilia Gómez Goffredo Haus Henkjan Honing Kristoffer Jensen Anssi Klapuri Richard Kronland-Martinet Panos Kudumakis Mark Levy University of Padova, Italy University of Málaga, Spain KTH, Sweden IRCAM, France University of Genoa, Italy University of Paris-Est Marne-La-Vallée, France Toulon-Var University, France University of Sheffield, UK CNRS-TELECOM ParisTech, France McGill University, Canada Pompeu Fabra University, Spain Laboratory for Computer Applications in Music, Italy University of Amsterdam, The Netherlands Aalborg University, Denmark Last.fm, UK

8 Organization IX Sylvain Marchand Matthias Mauch Eduardo Miranda Marcus Pearce Emery Schubert Björn Schuller Bob Sturm George Tzanetakis Thierry Voinier Geraint A. Wiggins Sølvi Ystad Université de Bretagne Occidentale, France University of Plymouth, UK University of New South Wales, Australia Munich University of Technology, Germany Aalborg University, Denmark University of Victoria, Canada Additional Reviewers Samer Abdallah Emmanouil Benetos Charles Gondre Bas de Haas Cyril Joder Sefki Kolozali Andrew McPherson Martin Morrell Katy Noland Anaïk Olivero Dan Tidhar Xue Wen Thomas Wilmering Massimiliano Zanoni Universiteit Utrecht, The Netherlands Technische Universität Munchen, Germany BBC, UK King s College, UK Politecnico di Milano, Italy

9 Table of Contents I - Music Emotion Analysis The Six Emotion-Face Clock as a Tool for Continuously Rating Discrete Emotional Responses to Music... 1 Emery Schubert, Sam Ferguson, Natasha Farrar, David Taylor, and Gary E. McPherson Emotion in Motion: A Study of Music and Affective Response Javier Jaimovich, Niall Coghlan, and R. Benjamin Knapp Psychophysiological Measures of Emotional Response to Romantic Orchestral Music and their Musical and Acoustic Correlates Konstantinos Trochidis, David Sears, Diêu-Ly Trân, and Stephen McAdams II - 3D Audio and Sound Synthesis Two-Dimensional Hybrid Spatial Audio Systems with User Variable Controls of Sound Source Attributes Martin J. Morrell and Joshua D. Reiss Perceptual Characteristic and Compression Research in 3D Audio Technology Ruimin Hu, Shi Dong, Heng Wang, Maosheng Zhang, Song Wang, and Dengshi Li Intuitive Control of Rolling Sound Synthesis Simon Conan, Mitsuko Aramaki, Richard Kronland-Martinet, and Sølvi Ystad EarGram: An Application for Interactive Exploration of Concatenative Sound Synthesis in Pure Data Gilberto Bernardes, Carlos Guedes, and Bruce Pennycook Reenacting Sensorimotor Features of Drawing Movements from Friction Sounds Etienne Thoret, Mitsuko Aramaki, Richard Kronland-Martinet, Jean-Luc Velay, and Sølvi Ystad

10 XII Table of Contents III - Computer Models of Music Perception and Cognition Auditory Sketches: Sparse Representations of Sounds Based on Perceptual Models Clara Suied, Angélique Drémeau, Daniel Pressnitzer, and Laurent Daudet The Role of Time in Music Emotion Recognition: Modeling Musical Emotions from Time-Varying Music Features Marcelo Caetano, Athanasios Mouchtaris, and Frans Wiering The Intervalgram: An Audio Feature for Large-Scale Cover-Song Recognition Thomas C. Walters, David A. Ross, and Richard F. Lyon Perceptual Dimensions of Short Audio Clips and Corresponding Timbre Features Jason Jiří Musil, Budr Elnusairi, and Daniel Müllensiefen IV - Music Emotion Recognition Music Emotion Recognition: From Content- to Context-Based Models Mathieu Barthet, György Fazekas, and Mark Sandler Predictive Modeling of Expressed Emotions in Music Using Pairwise Comparisons Jens Madsen, Bjørn Sand Jensen, and Jan Larsen Analyzing the Perceptual Salience of Audio Features for Musical Emotion Recognition Erik M. Schmidt, Matthew Prockup, Jeffrey Scott, Brian Dolhansky, Brandon G. Morton, and Youngmoo E. Kim V - Music Information Retrieval Sample Identification in Hip Hop Music Jan Van Balen, Joan Serrà, and Martín Haro Music Similarity Evaluation Using the Variogram for MFCC Modelling Lorenzo J. Tardón and Isabel Barbancho Automatic String Detection for Bass Guitar and Electric Guitar Jakob Abeßer

11 Table of Contents XIII Using Oracle Analysis for Decomposition-Based Automatic Music Transcription Ken O Hanlon, Hidehisa Nagano, and Mark D. Plumbley VI - Film Soundtrack and Music Recommendation The Influence of Music on the Emotional Interpretation of Visual Contexts: Designing Interactive Multimedia Tools for Psychological Research Fernando Bravo The Perception of Auditory-Visual Looming in Film Sonia Wilkie and Tony Stockman VII - Computational Musicology and Music Education Maximum a Posteriori Estimation of Piecewise Arcs in Tempo Time-Series Dan Stowell and Elaine Chew Structural Similarity Based on Time-Span Tree Satoshi Tojo and Keiji Hirata Subject and Counter-Subject Detection for Analysis of the Well-Tempered Clavier Fugues Mathieu Giraud, Richard Groult, and Florence Levé Market-Based Control in Interactive Music Environments Arjun Chandra, Kristian Nymoen, Arve Voldsund, Alexander Refsum Jensenius, Kyrre Glette, and Jim Torresen VIII - Cross-Disciplinary Perspectives on Expressive Performance Workshop (Re)Shaping Musical Gesture: Modelling Voice Balance and Overall Dynamics Contour Regiane Yamaguchi and Fernando Gualda Multimodal Analysis of Piano Performances Portraying Different Emotions Kristoffer Jensen and Søren R. Frimodt-Møller Focal Impulses and Expressive Performance John Paul Ito

12 XIV Table of Contents Learning to Make Feelings: Expressive Performance as a Part of a Machine Learning Tool for Sound-Based Emotion Control Alexis Kirke, Eduardo R. Miranda, and Slawomir J. Nasuto Author Index