Pairs of musicians were placed apart in isolated rooms and asked to clap a rhythm together. Each person monitored the other’s sound via headphones and microphone pickup was as close as possible. Time delay from source to listener was manipulated across trials. Trials were recorded and clap onset times were measured with an event detection algorithm. Longer delays produced increasingly severe tempo deceleration and shorter delays (< 11.5 ms) produced a modest, but surprising acceleration. The study’s goal is to characterize effects of delay on rhythmic accuracy and identify the region most conducive to ensemble playing. The results have implication for networked musical performance. Network delay is a function of transmission distance and / or internetworking (routing) delays. The findings suggest that sensitive ensemble performance can be supported over rather long paths (e.g., San Francisco to Denver at about 20 ms, oneway). The finding that moderate amounts of delay are beneficial to tempo stability seems, at first glance, counterintuitive. We discuss the observed effect. 1.

This paper is concerned with the handling of rhythm in music content processing applications. Keeping this framework in mind, we briefly report on terminology issues and the interdisciplinary nature of rhythm investigations, we then review approaches to computational modeling of rhythm and rhythm representation schemes. We comment the bottomup and top-down oriented approaches to computational modeling and the parallel that some authors make with physiological and cognitive views on rhythm perception. We argue that investigations should be listener-oriented, signal-oriented and application-oriented. 1

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The conditions of networked ensemble performance were simulated in an experiment. Pairs of musicians were placed apart in isolated rooms and given a simple rhythm to clap together. A microphone was placed as close as possible to each performer’s hands. Each monitored the other’s sound via headphones, and a delay was introduced between the source and listener. Starting tempo, given by a recorded count-in, and delay time were varied across trials. Recordings of the trials were analyzed with a precise event detection algorithm to locate clap onsets, from which the tempo was inferred. The rate of deceleration increased with longer delays, while shorter delays ( 11.5 ms) produced a modest, but significant acceleration. The goal is to identify the region of delay time that is most conducive to maintaining a steady tempo. This will help to determine the necessary delay conditions to support networked musical performance (which may be over long distances or in adjoining rooms). Humans performed significantly better than a simple model of a memoryless instantaneous reaction. 1

This paper presents an automatic meter extraction system which relies on auto-correlation coefficients. The input format for music is MIDI, and we assume that a beat and its ocurrences in the musical sequence are known. As output, our algorithm provides a set of possible metric groupings sorted by a confidence criteria. The algorithm has been tested on several pieces of Rameau and results are encouraging.

Abstract — This paper examines computer-assisted analysis techniques in extracting musical features from a recording of a speech by Mao Zedong. The data was used to prepare compositional material such as global form, melody, harmony and rhythm for TreeTorika for chamber orchestra. The text focuses on large-scale segmentation, melody transcription, quantification and quantization 1. It touches upon orchestration techniques but does not go into other aspects of the work such as constrained-based rhythm development. Automatic transcription of the voice was discarded in favour of an aurally based method supported by tools in Amadeus and Max/MSP. The data were processed in OpenMusic to optimise the notation with regards to accuracy and readability for the musicians. The harmonic context was derived from AudioSculpt partial tracking and chord-sequence analyses. Finally, attention will be given to artistic and political considerations when using recordings of such an intensively disputed public figure as Mao. I.