We present work towards a computer system for the automatic transcription of piano performances. The system takes audio files containing polyphonic piano music as input, and produces MIDI output, representing the pitch, timing and volume of the musical notes. The aim of this work is not to reduce the performance data to common music notation, but to extract the performance parameters for a quan...

Lerdahl and Jackendoff’s theory employed a tree in a representation of internal structure of music. In order for us to claim that such a tree is a consistent and stable representation, we argue that the difference of trees should correctly reflect our coginitive similarity of music. We report our experimental result concerning the comparison of similarity among variations on Ah vous dirai-je, m...

Woodley Packard December 16, 2005 Introduction Logical representations of musical data are widely available in varying forms (for instance, MIDI files are ubiquitous on the internet). Matching acoustic recordings of musical performances are also available from CD stores, online music stores, or other repositories. However, due to variation in tempo and dynamic in performances, the time series a...

To RSVP or for more information, please call Daniel Leonardich at 415.734.2080 or email [email protected] Science for Life lectures are free with open seating. Parking is available across the street in the UCSF Rutter Center garage. Co-sponsored by San Francisco Conservatory of Music cellist Erin Wang will share with us a brief discussion of “evolution” from baroque through contempora...

In this research, it is proposed that music can be thought of as random processes, and music style recognition can be thought of as a system identification problem. Then, a general framework for modeling music using Markov chains is described, and based on this framework, a two-way composer identification scheme is demonstrated. The scheme utilizes the Kullback-Leibler distance as the metric be...

Music Council will present a concert March 25 featuring Shirlee E m mons, Soprano and William McGra th , Tenor, with t he second half of the program devoted to the stage version of the Wolf Fer ra r i opera, "The Secret of Suzanne", in English, announces K a t h r y n Johns ton '55, President . T h e program will consist of duets and solos by t he guest art ists . The duets will be "Ma qual mai...

Steele (2003) raised several concerns regarding Rauscher, Robinson, & Jens’ (1998) study that found improved maze running following early music exposure in rats. Steele’s primary criticisms were that the rats in the Rauscher et al. study were only able to hear 31% of the notes, and that a selection bias resulting in pre-existing differences between groups could account for the disparity in thei...

Rules for legato, staccato, and repeated notes articulation in automatic piano performance are presented. These rules were obtained applying the analysis-by-measurement method to performances of Mozart piano sonatas on MIDIfied acoustic grand pianos. The effects produced by the rules vary with tempo indications, with expressive intentions and with musical context. The articulation rules are par...

In Experiment 1, &month-old infants looked longer in order to listen to a set of consonant intervals than to a set of dissonant intervals. In Experiment 2, infants preferred to listen to the original version of a Mozart minuet than to a version altered to contain many dissonant intervals. Thus, although infants do not yet have the musical-system-specific knowledge of scale structure that is inv...

IN THE FIELD OF MUSIC, the impact of electronic information goes beyond research on music and writings about music to the processes of creating, notating, printing, performing, and recording music. The overview of electronic publications and information resources selectively covers: (1)bibliographic citations of books, articles, scores, and sound recordings; (2) electronic network resources; (3...