Silhouettes: a graphical aid to the interpretation and validation of cluster analysis
Journal of Computational and Applied Mathematics
The EMOTE model for effort and shape
Proceedings of the 27th annual conference on Computer graphics and interactive techniques
Emotional Coloring of Computer-Controlled Music Performances
Computer Music Journal
Embodied Music Cognition and Mediation Technology
Embodied Music Cognition and Mediation Technology
Score-Independent Audio Features for Description of Music Expression
IEEE Transactions on Audio, Speech, and Language Processing
Automatic mood detection and tracking of music audio signals
IEEE Transactions on Audio, Speech, and Language Processing
Modeling expression with perceptual audio features to enhance user interaction
Computer Music Journal
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Expression communication is the added value of a musical performance. It is part of the reason why music is interesting to listen to and sounds alive. Previous work on the analysis of acoustical features yielded relevant features for the recognition of different expressive intentions, inspired both by emotional and sensorial adjectives. In this article, machine learning techniques are employed to understand how expressive performances represented by the selected features are clustered on a low-dimensional space, and to define a measure of acoustical similarity. Being that expressive intentions are similar according to the features used for the recognition, and since recognition implies subjective evaluation, we hypothesized that performances are similar also from a perceptual point of view. We then compared and integrated the clustering of acoustical features with the results of two listening experiments. A first experiment aims at verifying whether subjects can distinguish different categories of expressive intentions, and a second experiment aims at understanding which expressions are perceptually clustered together in order to derive common evaluation criteria adopted by listeners, and to obtain the perceptual organization of affective and sensorial expressive intentions. An interpretation of the resulting spatial representation based on action is proposed and discussed.