Investigations on music and emotion have identified broad musical elements that influence emotions recognized by listeners, such as timbre, rhythm, melody, and harmony. Not many studies have studied the correlation between quantifiable musical descriptors and their associated emotions; furthermore, only few studies have focused on how listeners’ demographic and musical backgrounds influence the emotion they recognize. In this preliminary study, participants rated how strongly they recognized the six GEMS emotions (transcendence, peacefulness, power, joyful activation, tension, and sadness) while listening to excerpts from Beethoven’s Eroica. Musical descriptors (loudness, brightness, noisiness, tempo/rhythm, harmony, and timbre) were also extracted from each excerpt. Results indicate significant correlations between emotional ratings and musical descriptors, notably positive correlations between key clarity and peacefulness/joyful activation ratings, and negative correlations between key clarity and tension/sadness ratings. Key clarity refers to the key strength associated to the best key candidate; as such, these results suggest that listeners recognize positive emotions in music with a straightforward key, whereas listeners recognize negative emotions in music with a less clear sense of key. The second part of the study computed correlations between demographics and emotional ratings, to determine whether people of similar demographic and musical backgrounds recognized similar emotions. The results indicate that na{\"ıve listeners (i.e. younger subjects, and subjects with less frequent exposure to classical music) experienced more similar emotions from the same musical excerpts than did other subjects. Our findings contribute to developing a quantitative understanding of how musical descriptors, and listeners’ backgrounds, correlate with emotions recognized by listeners.
JF - Ninth Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM) CY - Manchester, UK UR - http://phenicx.upf.edu/system/files/publications/0168TrentGomez-ESCOM2015.pdf ER - TY - CONF T1 - An evaluation of score descriptors combined with non-linear models of expressive dynamics in music T2 - Proceedings of the 18th International Conference on Discovery Science (DS 2015) Y1 - 2015 A1 - Cancino Chacón, C. E. A1 - M. Grachten JF - Proceedings of the 18th International Conference on Discovery Science (DS 2015) PB - Springer CY - Banff, Canada ER - TY - CONF T1 - Flexible Score Following: The Piano Music Companion and Beyond T2 - Proceedings of the Vienna Talk on Music Acoustics Y1 - 2015 A1 - Andreas Arzt A1 - Goebl, W. A1 - Widmer, G. JF - Proceedings of the Vienna Talk on Music Acoustics ER - TY - CONF T1 - Iron Maiden while jogging, Debussy for dinner? - An analysis of music listening behavior in context T2 - Proceedings of the 21st International Conference on MultiMedia Modeling (MMM 2015) Y1 - 2015 A1 - Michael Gillhofer A1 - Markus Schedl JF - Proceedings of the 21st International Conference on MultiMedia Modeling (MMM 2015) CY - Sydney, Australia ER - TY - CONF T1 - Melody extraction by means of a source-filter model and pitch contour characterization (MIREX 2015) T2 - Music Information Retrieval Evaluation eXchange (MIREX) Y1 - 2015 A1 - Bosch, J. A1 - Gómez, E. JF - Music Information Retrieval Evaluation eXchange (MIREX) ER - TY - CONF T1 - Melovizz: A Web-based tool for Score-Informed Melody Extraction Visualization T2 - ISMIR (Late Breaking Demo) Y1 - 2015 A1 - Bosch, J. A1 - Mayor, O. A1 - Gómez, E. JF - ISMIR (Late Breaking Demo) ER - TY - CONF T1 - PHENICX: Innovating the Classical Music Experience T2 - Proceedings of the IEEE International Conference on Multimedia and Expo (ICME 2015) Y1 - 2015 A1 - Cynthia C. S. Liem A1 - Emilia Gómez A1 - Markus Schedl JF - Proceedings of the IEEE International Conference on Multimedia and Expo (ICME 2015) CY - Torino, Italy ER - TY - CONF T1 - Analysis and prediction of expressive dynamics using Bayesian linear models T2 - 1st international workshop on computer and robotic Systems for Automatic Music Performance (SAMP14) Y1 - 2014 A1 - Grachten, M A1 - Cancino Chacón, C. E. A1 - Widmer, G. JF - 1st international workshop on computer and robotic Systems for Automatic Music Performance (SAMP14) CY - Venice, Italy ER - TY - JOUR T1 - An Assessment of Learned Score Features for Modeling Expressive Dynamics in Music JF - {IEEE} Transactions on Multimedia Y1 - 2014 A1 - M. Grachten A1 - F. Krebs VL - 16 UR - http://dx.doi.org/10.1109/TMM.2014.2311013 ER - TY - CONF T1 - Beat Tracking from Conducting Gestural Data: A Multi-Subject Study T2 - Proceedings of the 2014 International Workshop on Movement and Computing Y1 - 2014 A1 - Sarasua, Alvaro A1 - Guaus, Enric KW - beat tracking KW - classical music KW - conducting KW - expressive performance KW - motion capture AB -The musical conductor metaphor has been broadly used in the design of musical interfaces where users control the expressive aspects of the performance imitating the movements of conductors. Most of the times, there are predefined rules for the interaction to which users have to adapt. Other works have focused on studying the relation between conductors' gestures and the resulting performance of the orchestra. Here, we study how different subjects move when asked to conduct on top of classical music excerpts, with a focus on the influence of the beat of the performance. Twenty-five subjects were asked to conduct on top of three classical music fragments and recorded with a commercial depth-sense camera. We evaluated predicted beats using ground truth annotations from score-performance alignment by an expert musicologist and a modified F-measure that is able to account for different tendencies on beat anticipation across subjects. The results show that these tendencies can be used for possible improvements in the design of conducting musical interfaces in terms of user adaptation.
JF - Proceedings of the 2014 International Workshop on Movement and Computing PB - ACM CY - Paris, France SN - 978-1-4503-2814-2 UR - http://doi.acm.org/10.1145/2617995.2618016 ER - TY - CONF T1 - The Complete Classical Music Companion V0.9 T2 - 53rd AES Conference on Semantic Audio Y1 - 2014 A1 - Andreas Arzt A1 - Sebastian Böck A1 - Flossmann, Sebastian A1 - Frostel, Harald A1 - Gasser, Martin A1 - Widmer, Gerhard JF - 53rd AES Conference on Semantic Audio CY - London, UK ER - TY - CONF T1 - Dynamics in Music Conducting: A Computational Comparative Study Among Subjects T2 - Proceedings of the International Conference on New Interfaces for Musical Expression Y1 - 2014 A1 - Álvaro Sarasúa A1 - Enric Guaus AB -Many musical interfaces have used the musical conductor metaphor, allowing users to control the expressive aspects of a performance by imitating the gestures of conductors. In most of them, the rules to control these expressive aspects are predefined and users have to adapt to them. Other works have studied conductors' gestures in relation to the performance of the orchestra. The goal of this study is to analyze, following the path initiated by this latter kind of works, how simple motion capture descriptors can explain the relationship between the loudness of a given performance and the way in which different subjects move when asked to impersonate the conductor of that performance. Twenty-five subjects were asked to impersonate the conductor of three classical music fragments while listening to them. The results of different linear regression models with motion capture descriptors as explanatory variables show that, by studying how descriptors correlate to loudness differently among subjects, different tendencies can be found and exploited to design models that better adjust to their expectations.
JF - Proceedings of the International Conference on New Interfaces for Musical Expression PB - Goldsmiths, University of London CY - London, United Kingdom UR - http://nime2014.org/proceedings/papers/464_paper.pdf ER - TY - JOUR T1 - Hierarchical multi-scale set-class analysis JF - Journal of Mathematics and Music Y1 - 2014 A1 - Martorell, Agustín A1 - Gómez, Emilia UR - http://dx.doi.org/10.1080/17459737.2014.906072 ER - TY - Generic T1 - Melody extraction in symphonic classical music: a comparative study of mutual agreement between humans and algorithms T2 - 9th Conference on Interdisciplinary Musicology – CIM14 Y1 - 2014 A1 - Bosch, J. A1 - Gómez, E. JF - 9th Conference on Interdisciplinary Musicology – CIM14 CY - Berlin ER - TY - JOUR T1 - Music Information Retrieval: Recent Developments and Applications JF - {Foundations and Trends in Information Retrieval} Y1 - 2014 A1 - Markus Schedl A1 - Emilia Gómez A1 - Julián Urbano VL - 8 ER - TY - CONF T1 - The Piano Music Companion T2 - Proceedings of the Conference on Prestigious Applications of Intelligent Systems (PAIS) Y1 - 2014 A1 - Andreas Arzt A1 - Sebastian Böck A1 - Flossmann, S. A1 - Frostel, H. A1 - Gasser, M. A1 - Cynthia C. S. Liem A1 - Widmer, G. JF - Proceedings of the Conference on Prestigious Applications of Intelligent Systems (PAIS) ER - TY - CONF T1 - Predicting expressive dynamics in piano performances using neural networks T2 - Proceedings of the 15th International Conference on Music Information Retrieval Y1 - 2014 A1 - Van Herwaarden, S A1 - Grachten, M A1 - De Haas, W. B. JF - Proceedings of the 15th International Conference on Music Information Retrieval CY - Taipei, Taiwan ER - TY - Generic T1 - Systematic multi-scale set-class analysis T2 - 15th International Society for Music Information Retrieval Conference, Taipei, Taiwan Y1 - 2014 A1 - Martorell, Agustín A1 - Gómez, Emilia JF - 15th International Society for Music Information Retrieval Conference, Taipei, Taiwan CY - Taipei (Taiwan) ER - TY - CONF T1 - Automatic alignment of music performances with structural differences T2 - Proceedings of the 14th International Society for Music Information Retrieval Conference Y1 - 2013 A1 - Grachten, Maarten A1 - Gasser, Martin A1 - Andreas Arzt A1 - Widmer, Gerhard AB -Both in interactive music listening, and in music performance research, there is a need for automatic alignment of different recordings of the same musical piece. This task is challenging, because musical pieces often contain parts that may or may not be repeated by the performer, possibly leading to structural differences between performances (or between performance and score). The most common alignment method, dynamic time warping (DTW), cannot handle structural differences adequately, and existing approaches to deal with structural differences explicitly rely on the annotation of ``break points'' in one of the sequences. We propose a simple extension of the Needleman-Wunsch algorithm to deal effectively with structural differences, without relying on annotations. We evaluate several audio features for alignment, and show how an optimal value can be found for the cost-parameter of the alignment algorithm. A single cost value is demonstrated to be valid across different types of music. We demonstrate that our approach yields roughly equal alignment accuracies compared to DTW in the absence of structural differences, and superior accuracies when structural differences occur.
The FP7 PHENICX project focuses on creating a new digital classical concert experience, improving the accessibility of classical music concert performances by enhancing and enriching them in novel digital ways, In this paper, we present the project’s foreseen use cases. Subsequently, we summarize initial use case feedback from two different user groups. Despite the early stage of the project, the feedback already gives important insight into real-world considerations to make for interactive music content consumption solutions.
JF - 1st International Workshop on Interactive Content Consumption (WSICC) at EuroITV 2013 CY - Como, Italy ER - TY - CONF T1 - Multimedia Information Retrieval: Music and Audio T2 - Proceedings of the 21st ACM International Conference on Multimedia Y1 - 2013 A1 - Markus Schedl A1 - Emilia Gómez A1 - Masataka Goto JF - Proceedings of the 21st ACM International Conference on Multimedia CY - Barcelona, Spain ER - TY - CONF T1 - PHENICX: Performances as Highly Enriched aNd Interactive Concert Experiences T2 - SMAC Stockholm Music Acoustics Conference 2013 and SMC Sound and Music Computing Conference 2013 Y1 - 2013 A1 - Gómez, E. A1 - Grachten, M. A1 - Hanjalic, A. A1 - Janer, J. A1 - Jordà, S. A1 - Julià, C. F. A1 - Cynthia C. S. Liem A1 - Martorell, A. A1 - Schedl, M. A1 - Widmer, G. AB -Modern digital multimedia and internet technology have radically changed the ways people find entertainment and discover new interests online, seemingly without any phys- ical or social barriers. Such new access paradigms are in sharp contrast with the traditional means of entertainment. An illustrative example of this is live music concert perfor- mances that are largely being attended by dedicated audi- ences only.
This papers introduces the PHENICX project, which aims at enriching traditional concert experiences by using state- of-the-art multimedia and internet technologies. The project focuses on classical music and its main goal is twofold: (a) to make live concerts appealing to potential new au- dience and (b) to maximize the quality of concert experi- ence for everyone. Concerts will then become multimodal, multi-perspective and multilayer digital artifacts that can be easily explored, customized, personalized, (re)enjoyed and shared among the users. The paper presents the main scientific objectives on the project, provides a state of the art review on related research and presents the main chal- lenges to be addressed.