Timing and synchronization in ensemble performance

Rasch, Rudolf

doi:10.1093/acprof:oso/9780198508465.003.0004

Cited by 82 publications

(41 citation statements)

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“…Toh et al (14) implemented a system for the analysis of the solo singing voice that accurately identified 85% of onsets within 50 ms of the ground truth such as the manually annotated values of the same recordings. However, this is not precise enough for the analysis of the highly accurate coordination that is found in professional music ensembles, known to be in the order of tens of milliseconds (15,16). In summary, automated onset detection of nonpercussive performances, such as singing ensemble performances, from audio recordings remains a challenge and is currently under development and evolving.…”

Section: Introductionmentioning

confidence: 99%

A new method of onset and offset detection in ensemble singing

D’Amario

Daffern

Bailes

2018

Logopedics Phoniatrics Vocology

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This paper presents a novel method combining electrolaryngography and acoustic analysis to detect the onset and offset of phonation as well as the beginning and ending of notes within a sung legato phrase, through the application of a peak-picking algorithm, TIMEX. The evaluation of the method applied to a set of singing duo recordings shows an overall performance of 78% within a tolerance window of 50 ms compared with manual annotations performed by three experts. Results seem very promising in light of the state-of-the-art techniques presented at MIREX in 2016 yielding an overall performance of around 60%. The new method was applied to a pilot study with two duets to analyse synchronization between singers during ensemble performances. Results from this investigation demonstrate bidirectional temporal adaptations between performers, and suggest that the precision and consistency of synchronization, and the tendency to precede or lag a co-performer might be affected by visual contact between singers and leader-follower relationships. The outcomes of this paper promise to be beneficial for future investigations of synchronization in singing ensembles. ARTICLE HISTORY

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Section: Introductionmentioning

confidence: 99%

A new method of onset and offset detection in ensemble singing

D’Amario

Daffern

Bailes

2018

Logopedics Phoniatrics Vocology

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“…The issues are quite akin to those examined in the study of expressive timing in music performance, where ensemble playing, with its restricted opportunity for stylistic embellishment, provides an analogy to synchronous speech 1,2 . In this case, the musical score provides a representation of idealized timing against which we can measure expressive variation.…”

Section: Introductionmentioning

confidence: 99%

On synchronous speech

Cummins

2002

Acoustics Research Letters Online

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“…In line with the present temporal imprecision, rhythmic hand clapping typically deviated by an unperceptible error of 30-50 ms from the metronome pacer [16]. In musical ensembles, the imprecisions among individual flute players were about 30 ms, for brass players 39 ms, and for string ensembles 51 ms [29].…”

Section: About the Precision Of Synchronization Between Fingering Andmentioning

confidence: 63%

Coordination of bowing and fingering in violin playing

Baader

Kazennikov

Wiesendanger

2005

Cognitive Brain Research

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Playing string instruments implies motor skills including asymmetrical interlimb coordination. How special is musical skill as compared to other bimanually coordinated, non-musical skillful performances? We succeeded for the first time to measure quantitatively bimanual coordination in violinists playing repeatedly a simple tone sequence. A motion analysis system was used to record finger and bow trajectories for assessing the temporal structure of finger-press, finger-lift (left hand), and bow stroke reversals (right arm). The main results were: (1) fingering consisted of serial and parallel (anticipatory) mechanisms; (2) synchronization between finger and bow actions varied from À12 ms to 60 ms, but these derrorsT were not perceived. The results suggest that (1) bow-finger synchronization varied by about 50 ms from perfect simultaneity, but without impairing auditory perception; (2) the temporal structure depends on a number of combinatorial mechanisms of bowing and fingering. These basic mechanisms were observed in all players, including all amateurs. The successful biomechanical measures of fingering and bowing open a vast practical field of assessing motor skills. Thus, objective assessment of larger groups of string players with varying musical proficiency, or of professional string players developing movement disorders, may be helpful in music education.Theme: Control of posture and movement Topic: Cognition

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Timing and synchronization in ensemble performance

Cited by 82 publications

References 0 publications

A new method of onset and offset detection in ensemble singing

A new method of onset and offset detection in ensemble singing

On synchronous speech

Coordination of bowing and fingering in violin playing

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