Violin bowing is a specialised sound-producing action, which may be affected by psychological performance techniques. In sport, attentional focus impacts motor performance, but limited evidence for this exists in music. We investigated effects of attentional focus on acoustical, physiological, and physical parameters of violin bowing in experienced and novice violinists. Attentional focus significantly affected spectral centroid, bow contact point consistency, shoulder muscle activity, and novices' violin sway. Performance was most improved when focusing on tactile sensations through the bow (somatic focus), compared to sound (external focus) or arm movement (internal focus). Implications for motor performance theory and pedagogy are discussed.

One of the central goals of Music Information Retrieval (MIR) is the quantification of similarity between or within pieces of music. These quantitative relations should mirror the human perception of music similarity, which is however highly subjective with low inter-rater agreement. Unfortunately this principal problem has been given little attention in MIR so far. Since it is not meaningful to have computational models that go beyond the level of human agreement, these levels of inter-rater agreement present a natural upper bound for any algorithmic approach. We will illustrate this fundamental problem in the evaluation of MIR systems using results from two typical application scenarios: (i) modelling of music similarity between pieces of music; (ii) music structure analysis within pieces of music. For both applications, we derive upper bounds of performance which are due to the limited inter-rater agreement. We compare these upper bounds to the performance of state-of-the-art MIR systems and show how the upper bounds prevent further progress in developing better MIR systems.

This study investigates the production and perception of timing, synchronisation and dynamics in jazz trio performances. In a production experiment, six trio combinations of one saxophonist, two bassists, and three drummers were recorded while they performed three popular jazz songs. Onset timing and dynamics of each performer were extracted and analysed. Results showed that the tempo was significantly influenced by the timing of the drummers and all performers showed higher temporal precision on the backbeats. The drummers demonstrated individual swing-ratios, accentuations of beats and intrapersonal asynchronies between simultaneous hi-hat and ride cymbal onsets, which resulted in a hi-hat played 2-26 ms ahead of the pulse of the music. In a subsequent perception test, participants ([Formula: see text]) rated 12 excerpts of the jazz recordings. They selected their preferred version from a pool of stimuli containing the original version, but also manipulations with artificially increased or reduced asynchronies. Stimuli with reduced asynchronies smaller than 19 ms were preferred by the listeners over the original or the fully quantised timing. This suggests that listeners endorse a 'tight-interlocked' jazz rhythm section, with asynchronies smaller than the perceptual threshold (temporal masking), but with natural timing variabilities that makes it distinguishable from a computer-generated playback.

This paper is concerned with the impact of hubness, a general problem of machine learning in high-dimensional spaces, on a real-world music recommendation system based on visualisation of a k-nearest neighbour (knn) graph. Due to a problem of measuring distances in high dimensions, hub objects are recommended over and over again while anti-hubs are nonexistent in recommendation lists, resulting in poor reachability of the music catalogue. We present mutual proximity graphs, which are an alternative to knn and mutual knn graphs, and are able to avoid hub vertices having abnormally high connectivity. We show that mutual proximity graphs yield much better graph connectivity resulting in improved reachability compared to knn graphs, mutual knn graphs and mutual knn graphs enhanced with minimum spanning trees, while simultaneously reducing the negative effects of hubness.

In the present text, I will reflect upon the composition of works that use virtual 3D environments in which the performers are represented as interacting avatars. In particular, I will explain the musical possibilities offered by this work with virtual environments, detailing the effects that the design of virtual topologies has on the interactive sound sources and sound events contained in these topologies. I will focus particularly upon how performers can musically influence said effects by navigating with the avatars acting within the topology.

When playing single-reed woodwind instruments, players can modulate the spectral content of the airflow in their vocal tract, upstream of the vibrating reed. In an empirical study with professional clarinettists ( ), blowing pressure and mouthpiece pressure were measured during the performance of Clarinet Concerto excerpts. By comparing mouth pressure and mouthpiece pressure signals in the time domain, a method to detect instances of vocal tract adjustments was established. Results showed that players tuned their vocal tract in both clarion and altissimo registers. Furthermore, the analysis revealed that vocal tract adjustments support shorter attack transients and help to avoid lower bore resonances.

We present a study and reflection about the role and use of smartphone technology for a large-scale musical performance involving audience participation. We evaluated a full design and development process from initial ideation to a final performance concept. We found that the smartphone became the design tool, the technical device and the musical instrument at the same time. As a technical device that uses ultrasound communication as interaction technique, the smartphone became inspirational for the artist's creative work. In aiming to support the artist, we observed pervasive importance of retaining artistic control to realise artistic intent. This concerns the co-design process and the resulting concept of audience participation and supports recommendations for such participatory work.