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Global Musical Tempo Transformations using Case Based ... - OFAI

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Chapter 1<br />

Introduction<br />

In this research work, in partial fulfillment of the doctoral programme ‘Informàtica<br />

i communicació digital’ of the Pompeu Fabra University, Barcelona,<br />

we present our current work and the goal of our thesis research. We will report<br />

our recent activities of applying a problem solving technique called <strong>Case</strong><br />

<strong>Based</strong> Reasoning (CBR) in the area of expressive music processing. To provide<br />

a broader perspective for this work, we will give an overview of past<br />

and current research in the field of music performance research and CBR.<br />

Finally, based on the current state of our research work, we will propose<br />

some concrete lines of work to fulfill the research goals.<br />

In the rest of this chapter, we will introduce the field of expressive music<br />

research, and musical tempo transformations as a special kind of this<br />

research. In chapter 2, we will have a more detailed look at some topics<br />

in music performance research. We will pay attention to more fundamental<br />

and cognitive/psychological research as well as review various approaches to<br />

expressive music generation by computational means. In chapter 3, we will<br />

introduce <strong>Case</strong> <strong>Based</strong> Reasoning (CBR), a problem solving approach that we<br />

believe is suitable for application in the domain of musical expression processing.<br />

The research-goals of this research will be presented in chapter 4. In<br />

chapter 5, we will describe a technique for realizing tempo transformations of<br />

musical phrases, that is, generating a performance for a given score at a certain<br />

tempo, given a performance of that score at a different tempo. Finally,<br />

in chapter 6, we will present conclusions and propose future research.<br />

1.1 Expressiveness in <strong>Musical</strong> Performances<br />

It has been long established that when humans perform music from score,<br />

the result is never a literal, mechanical rendering of the score (the so called<br />

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