SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS Second issue of the SHOES NEWSLETTER, January 1994. Our best wishes for 1994, may it be a healthy year with fruitful research. THE HISTORY This is an Email platform to somehow pull together the different approaches to modeling beat induction and tempo tracking. This area is a good example of a simple cognitive task (tapping the beat with your foot while listening to the music) that is quite hard to model. But the attempt to model this process computationally can shed more light on the problem. The intention is to see what different methods are proposed. The focus will be on practical models and methods that can eventually be used for real-time interactive composition (but all theoretical or empirical contributions are welcome too). To visualize the problem for a broader audience and to attract attention to this domain of research we will built mechanical shoes that can tap a beat, controlled by the different systems. These shoes will form a foot- tapping audience during a special session at the ICMC 1994, to which we hope that many researcher will contribute their insights. THE ICMC 94 SESSION If you want to participate in the ICMC special paper session on beat-finding/foot-tapping you need to submit an abstract before Feb. 1, 1994. Please indicate as content area on the paper submission form: "FOOT-TAPPING". Steffen Brandorff of the ICMC will then take care that our work is grouped in one session. During this session we will supply a mechanical tapping shoe that you can use for demonstrating your system, this contraption is described below. You can contact icmc94@daimi.aau.dk for the ICMC CALL FOR PAPERS, if you not already have one. THE SHOE Mathijs en Floris van Manen of Neomat Lab United gave us a quick start by building a prototype of a mechanical shoe. It uses a DC- motor to gain enough force for powerful tapping. It is fun watching the device happily tap along. Between the 'tap'-command and the shoe actually reaching the surface there is a small fixed delay time: your model should allow for that and send the beat ahead of time (just like the human brain has to do). The precise delay (and the maximal beat frequency) will be measured and published in the next shoes news. The electrical input to the shoe can be a MIDI note-on command on a specific MIDI channel or a percussive audio signal (input mono-jack), for easy interfacing with your equipment. REAL-TIME NOT NECCESARY Please note that you can prepare a MIDI file off-line with musical material and shoe tap commands when your hardware or implementation is not fast enough for real-time control of the device. But please do calculate in honest-time: a causal beat finder model cannot listen ahead of time. ABSTRACTS OF NEW PAPERS A Perceptual Model of Pulse Salience and Metrical Accent in Musical Rhythms Richard Parncutt McGill University, Faculty of Music, McGill University 555 Sherbrooke West, Montreal, Quebec, Canada H3A 1E3 To appear in Music Perception In Experiment 1, 6 cyclically repeating inter-onset interval (IOI) patterns (1, 2:1, 2:1:1, 3:2:1, 3:1:2, and 2:1:1:2) were each presented at 6 different note-rates (very slow to very fast). Each trial began at a random point in the rhythmic cycle. Listeners were asked to tap along with the underlying beat or pulse. The number of times a given pulse (period, phase) was selected was taken as a measure of its perceptual salience. Responses gravitated toward a moderate pulse period of about 700 ms. At faster tempi, taps coincided more often with events followed by longer IOIs. In Experiment 2, listeners heard the same set of rhythmic patterns, plus a single sound in a different timbre, and were asked whether the extra sound fell on or off the beat. The position of the downbeat was found to be quite ambiguous. A quantitative model was developed from the following assumptions. The phenomenal accent of an event depends on the IOI that follows it, saturating for IOIs greater than about one second. The salience of a pulse sensation depends on the number of events matching a hypothetical isochronous template, and on the period of the template - pulse sensations are most salient in the vicinity of roughly 100 events per minute (moderate tempo). The metrical accent of an event depends on the saliences of pulse sensations including that event. Calculated pulse saliences and metrical accents according to the model agree well with experimental results (r > 0.85). The model may be extended to cover perceived meter, perceptible subdivisions of a beat, categorical perception, expressive timing, temporal precision and discrimination, and primacy/recency effects. The sensation of pulse may be the essential factor distinguishing musical rhythm from non-rhythm. THOUGHTS ON THE BEAT IN SOME SIMPLE PATTERNS One way of studying beat-induction is by looking at the initial moments a temporal pattern induces a beat. This is the approach of the Longuet-Higgins and Lee model of beat-induction (LH&L, 1982). In the examples below the beats are those predicted by this model, interpreting a grid-point as a 1/16 note. Note that this rule-based model applies to score duration (no tempo tracking takes place). In the figures only the final state of the beat is given. This model starts out with assuming the interval between the two first onsets as the beat, and works its way through the material, shifting, doubling and stretching the beat. (! = note onset in temporal pattern, | = final state of beat as predicted by the LH&L model, . = empty grid point) pattern 0: 1/4 1/8 !...!.!.|...|...| pattern 1: 1/4 1/8 1/8 1/4 !...!.!.!...!...|.......|.......| pattern 2: 1/4 1/8 3/16 3/16 !...!.!..!..!.....|.....| pattern 3: 1/4 1/8 1/4 1/8 !...!.!...!.!.....|.....| In all these rhythms a beat is induced after only a few onsets. In pattern 2, for instance, the fourth onset is most likely heard as too late or syncopated - this is only possible when before that moment in time a beat was induced. The LH&L model has no explicit tempo parameter. For these examples, a reasonable value (that induces the notated beat) seems "|..." (quarter note) = 120 MM. There still is the question whether these beats hold at different tempi, i.e. how sensitive are these patterns to tempo? Another example is the following pattern (1/8 1/16 1/16 1/8 1/4 1/8). What is the beat induced by it? How is this affected by tempo? Pattern 4 with beat 1: !.!!!.!...!.!...|...| Pattern 4 with beat 2: !.!!!.!...!.!.......|.......| Pattern 4 with beat 3: !.!!!.!...!.!..|..| Pattern 4 with beat 4: !.!!!.!...!.!.....|.....| Let us hear what you hear. THE TESTS To test your own model, following are the test patterns taken directly from LH&L, 1982. First the figure number and name under which they appear in this paper are given. Then the relative score durations of the patterns are listed. Below that the patterns and the final state of the LH&L beat induction algorithm is given (with the maximum beat length set to 1/2, a half note). A binhexed standard MIDI file, containing these examples, was sent with this newsletter (pattern uses midi key 60, the beat is midi key 72, a text event names each example). 1, Cliche: 1/8 1/16 1/16 1/8 1/4 1/8 1/4 !.!!!.!...!.!...!.......|...........| 2, Beethoven Piano Sonata Op 109: 1/2 1/8 1/8 1/2 1/8 1/8 1/4 1/8 1/4 1/8 3/8 3/8 1/2 1/8 1/8 1/2 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 3/4 !.......!.!.!.......!.!.!...!.!...!.!.....!.....!.......!.!. !.......!.!.!.!.!.!.!.!.!...........!.......|.......| 3,4 Beethoven Dance (Ex. Simon & Sumner, 1968): 1/8 1/8 1/4 1/8 1/8 1/4 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/8 1/4 !.!.!...!.!.!...!.!.!.!.!.!.!.!.!.!. !.!.!.!.!...!...|.......|.......| 5,6 Bach, Wtc, Book 1, Fuge 2: 1/16 1/16 1/8 1/8 1/8 1/16 1/16 1/8 1/8 1/8 1/16 1/16 1/8 1/8 1/16 1/16 1/4 1/16 1/16 1/16 !!!.!.!.!!!.!.!.!!!.!. !!!...!!!!..|.......|.......| 7, Isochronous: 1/4 1/4 1/4 1/4 1/4 1/4 1/4 !...!...!...!...!...!...!...!...|.......|.......| 8a, Pop Goes The Weasel: 1/4 1/8 1/4 1/8 1/8 1/8 1/8 1/4 !...!.!...!.!.!.!.!...!.|...........|...........| 8b, Deutchland Uber Alles: 3/8 1/8 1/4 1/4 1/4 1/4 1/8 1/8 1/4 !.....!.!...!...!...!...!.!.!...!.......|.......| 9, Auld Lang Syne: 1/4 3/8 1/8 1/4 1/4 !...!.....!.!...!...!.......|.......| 12a, Onward Christian Soldiers: 1/4 1/4 1/4 1/4 1/2 1/2 1/4 1/4 1/4 1/4 1 !...!...!...!...!.......!.......!...!...!... !...!...............!.......|.......| 12b, God Save The Queen: 1/4 1/4 1/4 3/8 1/8 1/4 1/4 !...!...!...!.....!.!...!...!...|.......|.......| 13: 1/8 1/8 1/4 1/8 1/8 1/4 !.!.!...!.!.!...!...|.......|.......| 14: 1/16 1/16 1/8 1/8 1/4 1/8 1/8 1/4 !!!.!.!...!.!.!...!...|.......|.......| 15: 1/4 3/8 1/8 1/8 1/8 1/8 1/8 !...!.....!.!.!.!.!.!.......|.......| 16: 1/8 5/16 1/16 1/16 1/16 1/8 1/16 1/16 1/8 !.!....!!!!.!!!.!.|.......|.......| 17: 1/8 1/16 1/16 1/8 1/8 1/8 1/8 1/4 1/8 1/16 1/16 1/8 1/8 1/8 1/8 1/8 !.!!!.!.!.!.!...!.!!!.!.!.!.!.!.|.......|.......| 19, Schubert C-Major Symphony, First Mov.: 1/2 1/4 1/4 3/8 1/8 1/2 3/8 1/8 1/2 1/2 1/4 1/4 3/8 1/8 1/2 3/8 1/8 1/2 3/4 1/4 1 !.......!...!...!.....!.!.......!.....!.!.......!....... !...!...!.....!.!.......!.....!.!.......!........... !...!...............!.......|.......| 20: 1/4 1/8 1/4 1/8 1/8 1/8 1/8 3/8 1/4 1/8 1/4 1/8 3/8 3/8 !...!.!...!.!.!.!.!.....!...!.!... !.!.....!.....!...........|...........| 21: 1/4 1/8 1/4 1/8 1/8 1/8 1/8 1/8 1/4 1/8 1/4 1/8 3/8 !...!.!...!.!.!.!.!.!...!.!...!.!.....!.........|...........| B: 1/16 1/8 9/16 1/16 1/8 9/16 1/16 1/8 1/4 1/8 3/16 1/16 1/8 !!.!........!!.!........!!.!...!.!..!!.!........|........| D: 1/8 1/4 1/8 1/8 1/4 1/8 1/16 1/16 1/4 1/8 1/8 1/4 1/8 1/16 1/16 1/4 1/8 1/8 3/8 !.!...!.!.!...!.!!!...!.!.!...!.!! !...!.!.!.....!.|.......|.......| G: 3/16 1/16 3/8 1/8 3/16 1/16 3/8 1/8 3/16 1/16 3/8 !..!!.....!.!..!!.....!.!..!!.....!.|.......|.......| I: 1/4 1/4 1/16 1/16 1/16 1/16 1/8 1/8 1/4 !...!...!!!!!.!.!...!...|.......| J: 1/4 1/4 1/8 1/8 3/8 1/8 1/4 !...!...!.!.!.....!.!...!.......|.......| K: 1/4 1/4 1/8 1/8 3/16 1/16 1/8 1/8 1/8 1/8 !...!...!.!.!..!!.!.!.!.!.......|.......| L: 1/4 1/4 1/8 1/8 3/16 1/16 1/4 1/4 1/2 !...!...!.!.!..!!...!...!.......!.......|.......| N: 1/4 1/4 1/8 1/8 1/4 1/4 1/8 1/8 1/4 !...!...!.!.!...!...!.!.!...!...|.......|.......| THE LITERATURE Chafe, C. , B. Mont-Reynaud and L. Rush, Toward an Intelligent Editor of Digital Audio: Recognition of Musical Constructs, reprinted in C. Roads, ed., The Music Machine. MIT Press, Cambridge, MA, 1989. Dannenberg, R.B. & B Mont-Reynaud (1987) "Following an improvisation in real time" proceedings ICMC 1987, 241 - 248. Desain, P. (1992) "A (de)composable theory of rhythm perception". Music Perception, 9(4), 439-454. Lee, C. S. (1985) The rhythmic interpretation of simple musical sequences: towrads a perceptual model. In R. West, P. Howell, & I. Cross, Musical Structure and Cognition. 53-69. London: Academic Press. Longuet-Higgins, H.C. & C.S. Lee (1982) "Perception of musical rhythms." Perception. 11, 115-128 Longuet-Higgins, H.C. (1976) "The Perception of Melodies" Nature 263: 646-653 also in Longuet-Higgins, H.C.(1987). Mental Processes. Cambridge, Mass.:MIT Press. McAuley, J. D. (1994). Finding Metrical Structure in Time. In M. C. Mozer, P. Smolensky, D. S. Touretzky, J. L. Elman, & A. S. Weigend (Eds.), Proceedings of the 1993 Connectionist Models Summer School (pp. 219-227). Hillsdale, NJ: Erlbaum Associates. Miller, B. O., D. L. Scarborough, & J. A. Jones (1992) On the perception of meter. In M. Balaban, K. Ebcioglu, & O. Laske (eds.), Understanding Music with AI: Perspectives on Music Cognition. 428- 447. Cambridge: MIT Press. Parncutt, R. (1987). The perception of pulse in musical rhythm. In A.Gabrielsson (ed.), Action and Perception in Rhythm and Music (pp.127-138). Royal Swedish Academy of Music, Stockholm. Parncutt, R. (in press). A perceptual model of pulse salience and metrical accent in musical rhythms. Music Perception. (86 pages) (e-mail version available on request) Povel, D.J. & P. Essens (1985). "Perception of temporal Patterns". Music Perception. 2(4):411-440 Rosenthal, D. (1988) "A Model of the process of listening to simple rhythms" proceedings ICMC 1988, 189 - 197. THE PARTICIPANTS Assayag, Gerard Gerard.Assayag@ircam.fr Beckwith, Sterling beckwith@nexus.yorku.ca Beek, Peter P_J_Beek@fbw.vu.nl Berg, Paul paul@koncon.uucp Bilmes, Jeff bilmes@cs.berkeley.edu Brandorff, Steffen sbrand@daimi.aau.dk Chaffe, Chris cc@ccrma.stanford.edu Clarke, Eric E.F.Clarke@sheffield.ac.uk Dannenberg, Roger dannenberg@cs.cmu.edu Desain, Peter desain@nici.kun.nl Driesse, Anton DRIESSEA@QUCDN.QueensU.CA Duppen, Ikaros van ikaros@koncon.uucp Egmond, Rene egmond@nici.kun.nl Ellis, Dan dpwe@media.mit.edu Gjerdingen, Bob rgjerdingen@ccmail.sunysb.edu Holland, Simon simon@open.ac.uk Honing, Henkjan honing@mars.let.uva.nl Horiuchi, Yasuo hory@cs.titech.ac.jp Jones, Jacqueline JAJBC@CUNYVM.CUNY.EDU Katayose, H katayose@inolab.sys.es.osaka-u.ac.jp Large, Ed large@cis.ohio-state.edu Longuet-Higgins, Christopher HCLH@epvax.sussex.ac.uk Mcadams, Steve Steve.McAdams@ircam.fr McAuley, Devin mcauley@cs.indiana.edu Miller, Ben BMiller@VMSVAX.SIMMONS.EDU Mont-Reynaud,Bernard studer@applelink.com Noorden, Leon van lvn@postman.dg13.cec.be Palmer, Caroline cpalmer@casbs.stanford.edu Parncutt, Richard parncutt@sound.music.mcgill.ca Pennycook, Bruce brp@music.mcgill.ca Povel, Dirkjan povel@nici.kun.nl repp, bruno REPP%ROD@venus.cis.yale.edu Rosenthal, David dfr@media.mit.edu Rowe, Robert ROWER@ACFcluster.NYU.EDU Scarborough, Don DOSBC@CUNYVM.CUNY.EDU Tanaka, Hozumi tanaka@cs.titech.ac.jp Thienen, Huub van huub@cs.kun.nl Todd, Neil N.Todd@sheffield.ac.uk Vercoe, Barry bv@media-lab.media.mit.edu Vos, Piet vos@nici.kun.nl Wieringen, Piet van Wieringen@sara.nl ???, Scott CYBERO.TECH@AppleLink.Apple.COM SHOES NEWS contributions, addresses, new participants, questions etc. can be sent to Desain@NICI.KUN.NL Peter Desain and Henkjan Honing SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS SHOES NEWS