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Oswald Alexander
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1 S EXTRACTED BY MULTIPLE PERFORMANCE DATA T.Hoshishiba and S.Horiguchi School of Information Science, Japan Advanced Institute of Science and Technology, Tatsunokuchi, Ishikawa, , JAPAN ABSTRACT In order to achieve human-like computer performances, the dierence features between real performances and musical scores must be investigated. It is also important to construct a performance system by taking account of performer's individuality. This paper addresses a method to derive a normative performance data from multiple performances and a strategy to extract performance rules by using each performer's data and normative data. To conrm normative performance rules extracted from multiple performances, automatic piano performances synthesized by the proposed method are compared with performers' data. The possibility of extracting individual traits of performers is also discussed by comparing synthesized performance data with each performance data. 1. INTRODUCTION With the current development of electronics, the sound quality of electronic music instrument has improved dramatically. To realize musical performance by computer, many automatic performance systems based on performance rules have been proposed. Yet, research on automatic performances focusing on performer's individuality, which is an important factor in expressiveness, has not been fully investigated. To create more human-like automatic performance system, we have to take into account the performer's individuality. This paper addresses a method for deriving an averaged or a normative performance data from the score and multiple performance data of experienced performers [1]. A method is proposed for extracting normative performance rules from normative performance data and the score data [2]. Furthermore, a strategy is discussed for obtaining individual traits of performance rules by comparing the normative performance data with the individual performance data. Computer piano performances synthesized by the proposed strategy are compared with individual performance data to conrm the eectiveness inducting the performer's individuality. 2. NORMATIVE PERFORMANCE DATA 2.1 The Average Onset Time and Duration The normative performance data is obtained from multiple performance data of experienced performers by using matching of each notes and calculating average of the attack time, dynamics and duration. Since the attack time and duration change greatly depending on the tempo of the performance, the following equation is used to normalize the tempo, relative to the total duration of the piece. btj = 1 n t ij S i 1 2 Ei Si n Ei Si (1) Here, n is the number of data points in the performance data, b t j is the j-th averaged onset time, Si, Ei, tij are start time, end time, and j-th onset time of the i-th performance data, respectively. 2.2 The Average Dynamics and Treatment of The Pedaling Since dynamics depend on the instrument and the performer, the arithmetic mean of standardized MIDI velocity of the piece is used. Let v ij be j-th velocity of the i-th performance data, i be the arithmetic mean,

2 i be the standard deviation of i-th performance data, vij be the standard normal distribution of v ij and v b j be the velocity of normative performance data. The j-th arithmetic mean of vij are given by the following expression, wj = 1 vij n ; v ij = v ij i ; v b j = w j m ; (2) i s where m and s are the arithmetic mean and the standard deviation of w j. To replay the normative performance bvj, the following expression is used to MIDI velocity, which ranges between and 127. bvj = v b j 1 b + b ; b = 1 n i ; b = 1 i (3) n Using the matching result between the onset time of the performed notes and the score notes, the pedaling positions of performance data are marked on the score by a linear interpolation. The normative pedal operation accepts a majority of decision of performance data that are transformed on the score notes. Also, if the pedalon time is shorter than minimum pedal-on time of all performance data, the pedal operation is not accepted. 2.3 Experimentation of a Normative Performance Data. A normative performance data was generated by using ve performance data of Chopin Op. 1/12 (Revolutionary Etude) published by Yamaha Music Media. The score published by Ewald Zimmermann (Henle's original edition) were prepared. Table 1 shows operation counts of performed notes and pedaling operations for ve performers, the normative performance and the score. Table 1 also includes the performance time and the pedal-on time. The table shows that while each pedaling count is between 15 and 29, the normative performance data has 175 by the majority of decision. The performance time and the pedal-on time dier between performers. The normative performance data expresses the averages of performers. Figure 1 shows the pedaling operations of the performance data by player A and the normative performance data for a part of the score. It is clear that the position of the pedaling operation diers widely between performers. The normative pedal operation based on the majority of decision does not express the mean value of pedaling operations, thus it may be unnatural. Table 1: Performance features of ve performers' data, the normative data and the score of Chopin Op. 1/12. Player Notes Pedaling Performance time (sec) Pedal-On time (sec) A (68.7%) B (77.3%) C (71.1%) D (72.3%) E (66.8%) Normative (72.9%) Score Figure 2 shows the velocity and local tempi wave form of the entire piece of the performance data by player A and as well as that of the normative performance data. As can be seen from these wave forms, the velocity and the tempo of the each performances are quite similar overall as is the shape of the normative performance data derived from them.

3 Allegro con fuoco h =76 & b b n ^ energico bcn œœœ > Ó œ œœ? b b bc fz legatissimo n œ > Ó Œ œ œ. œ œ œœœ > œ œœ Ó Ó Œ œ œ. œ œ > > cresc. f > œœœœ nœ f œœœ œœœœ n œ > œœœœ j œœœn œ > œœœœ >œ œ œ œ œ œ œ n œ > œœœœ. > œœœœ >œ œ œ œ œ œ œ Pedal ON OFF ON Player A Normative Pedal OFF Figure 1: Pedal wave forms of the performance data of Chopin Op. 1/ RULE EXTRACTION FROM PERFORMANCE DATA 3.1 Rules Concerned with Velocity Keyboard and pedaling operations in piano performances have their own performance rules. In order to extract the performance rules, we investigate velocity that is dynamics of keyboard operations, and for tempo that is a timing of two operations. Many performance rules have been proposed for velocity. We analyze three parameters; \velocity change ratio with beat", \velocity change ratio with accent" and \velocity change ratio with note". Since dynamics depend on the instrument and the performer, the velocity is standardized by the piece for extracting velocity rules. Figure 3 shows the velocity change ratio of the normative data with beat (a semiquaver). The standardized velocity is on the vertical axis and the beat is on the horizontal axis. The solid line in Figure 3 shows the average value of each semiquaver. It is seen that all players emphasis the rst beat, the fourth beat, the second beat and the third beat in that order. The velocity between beats is decreased quickly, then slowly increased forward the next beat. This tendency is used as the velocity rule with beat. In order to obtain a velocity change ratio with accent, the average value of the velocity of the note with accent is calculated. To remove the side eect of \the velocity rule with beat", the velocity change ratio with accent is obtained by subtracting the average of each semiquaver from the normalized velocity data. This value is also used as the velocity rule with accent. Figure 4 shows the velocity change ratio with note for the normative performance data. The standardized velocity on the vertical axis is obtained by removing the side eects of two velocity rules. In order to analyze a velocity change ratio with note, we obtain the relation between velocity and note pitch by principal component analysis. The solid line in Figure 4 show the correlation ratio. The correlation ratio between the velocity and the note is used the individual parameters of the velocity rules.

4 Velocity Player A Normative Velocity Player A Normative Figure 2: Velocity and tempo wave forms of the performance data of Chopin Op. 1/ Rules Concerned with For the performance rules of tempo, we pay attention on two parameters; \tempo change ratio with beat" and \tempo change ratio with slur". The standardized values of the tempo are analyzed to obtain individual parameters for rules concerned with tempo. Figure 5 shows the tempo change ratio with beat for the normative performance data. The vertical axis corresponds to the standardized tempo and the beat is on the horizontal axis. It is seen that all players perform quickly at the second beat and perform slowly the fourth beat. These values show the individuality of performer and are used as parameters for the tempo rule with beat. It has been reported that the tempo increases until the center of phrase and decreases after. Since phrase and slur are closely related, we investigate the relationship between tempo change ratio and slur. Figure 6 shows the relation between tempo change ratio and dierence in note pitch between starting and ending of slur. The line in the gure is obtained by method of least squares. This value is used as a parameter for the tempo rule with slur. 4. AUTOMATIC PERFORMANCE SYSTEM BY PERFORMANCE RULES 4.1 Automatic Performances The normative performance rules obtained by analyzing the normative performance data and the score data are applied to automatic performance system. Automatic performances by computer are generated as follows. First, the velocity data of all notes are set to. The velocity rules, \velocity change ratio with beat", \velocity change ratio with accent" and \velocity change ratio with note", are applied to the velocity data. Then the velocity data are standardized and converted to MIDI velocity by using the average and the standard deviation

5 Standardized Velocity Standardized Velocity Beat Note Figure 3: Velocity change ratio with beat Figure 4: Velocity change ratio with note of the velocity. Second, the tempo data of all notes are set to 1. The tempo rules, \tempo change ratio with beat" and \tempo change ratio with slur", are applied to the tempo data. After that, the tempo data are standardized and converted to MIDI tempo by using the average and the standard deviation of the tempo. 4.2 Comparison between Normative and Automatic Performances Figure 7 shows the velocity and the tempo wave form of the automatic performance data and the normative performance data. The solid line shows automatic performance data and the the dotted line shows the normative performance data. For the dynamics, the wave form of the computer performance are locally almost similar to the original performance data, but the dierences between both data are still observed. Therefore, the musical small uctuations are reappeared, but the large uctuations are not reappeared. The large uctuations should be reappeared by applying of the rules that aect widely, e.g. crescendo and diminuendo Beat Difference in note pitch Figure 5: change ratio with beat Figure 6: change ratio with slur

6 For the tempo, it is seen that the wave form of the computer performance are almost similar to the original performance data. Although only two performance rules concerned with tempo, the good automatic performances are obtained by the proposed strategy. 12 Normative performance Automatic performance Velocity Normative performance Automatic performance Figure 7: Velocity and tempo wave form of the computer performance 5. CONCLUSIONS AND FUTURE PROBLEMS This paper showed the method to obtain normative performance data from performance data created by multiple performances. The strategy has been proposed for extracting the performance rules from performance data. The strategy includes only three rules concerned with velocity and two rules concerned with tempo. The normative performance rules are obtained by analyzing the normative performance data and are applied to automatic performance data by computer. It conrmed that the computer performances are almost similar to the original performance data. A method to extract individual features is one of further subjects to be studied. Acknowledgment: Authors thank Professor I. Fujinaga, Johns Hopkins University for variable comments. A part of the research is supported by the Ground-in-Aids for Scientic Research (No ), Ministry of Education of Japan. 6. REFERENCES [1] T HOSHISHIBA, S HORIGUCHI & I FUJINAGA, `Computer Performance of Piano Music with Normative Performance Data', JAIST Research Report, IS{RR{95{14I (1995) [2] T HOSHISHIBA, S HORIGUCHI & I FUJINAGA, `Study of Expression and Individuality in Music Performance Using Normative Data Derived from MIDI Recordings of Piano Music', International Conference on Music Perception and Cognition, pp.465{47 (1996)

Experiment on adjustment of piano performance to room acoustics: Analysis of performance coded into MIDI data.

Toronto, Canada International Symposium on Room Acoustics 203 June 9- ISRA 203 Experiment on adjustment of piano performance to room acoustics: Analysis of performance coded into MIDI data. Keiji Kawai