Johan Sundberg
Datos Biográficos
| ID | 3684994 |
|---|---|
| NOMBRE | Johan Sundberg |
| NOMBRES | Johan |
| APELLIDO | Sundberg |
| FIRMA | SUNDBERG J |
| AFILIACIONES | KTH Royal Institute of Technology |
| ORCID | 0000-0002-7234-7551 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 17 |
| TOTAL DE CITAS | 25 |
| TOTAL COMO AUTOR | 17 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1971 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2022 |
| ÍNDICE H | 2 |
Augmented visual-feedback of airflow
Glottal adduction is a crucial aspect in voice education and vocal performance: it has major effects on phonatory airflow and, consequently, on voice timbre. As the voice is a non-visible musical instrument, controlling it could be facilitated by providing real-time visual feedback of phonatory airflow. Here, we test the usefulness of a flow ball (FB) training device, visualizing, in terms of the height of a polystyrene ball placed in a plastic b…
Guest Editorial
Attempts to Reproduce a Pianist?s Expressive Timing with Director Musices Performance Rules
The Director Musices generative grammar of music performance is a system of context dependent rules that automatically introduces expressive deviation in performances of input score files. A number of these rule concern timing. In this investigation the ability of such rules to reproduce a professional pianist’s timing deviations from nominal note inter-onset-intervals is examined. Rules affecting tone inter-onset-intervals were first tested one …
Four Years of Research on Music and Motion
(2000). Four Years of Research on Music and Motion. Journal of New Music Research: Vol. 29, No. 3, pp. 183-185
Music from Motion
The common association of music with motion was investigated in a direct way. Could the original motion quality of different gaits be transferred to music and be perceived by a listener? Measurements of the ground reaction force by the foot during different gaits were transferred to sound by using the vertical force curve as sound level envelopes for tones played at different tempi. Three listening experiments assessed the motion quality of the r…
Musical punctuation on the microlevel
In this investigation we use the term musical punctuation for the marking of melodic structure by commas inserted at the boundaries that separate small structural units. Two models are presented that automatically try to locate the positions of such commas. They both use the score as the input and operate with a short context of maximally five notes. The first model is based on a set of subrules. One group of subrules mark possible comma position…
Speech and music performance
Speech and music performance are two important systems for interhuman communication by means of acoustic signals. These signals must be adapted to the human perceptual and cognitive systems. Hence a comparitive analysis of speech and music performances is likely to shed light on these systems, particularly regarding basic requirements for acoustic communication. Two computer programs are compared, one for text-to-speech conversion and one for not…
Rules for automated performance of ensemble music
Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble p…
Long-term average spectrum analysis of phonatory effects of noise and filtered auditory feedback
Chairman’s Summary
Acoustic and perceptual analysis of vocal dysfunction
Dedication
Breathiness and insufficient vocal fold closure
An attempt to improve the clinical usefulness of phonetograms
Voice source effects of diaphragmatic activity in singing
Maximum speed of pitch changes in singers and untrained subjects
Acoustical Consequences of Lip, Tongue, Jaw, and Larynx Movement
An articulatory model is presented. It defines a procedure for deriving a set of formant frequencies from information on the state of the lip muscles, the position of the jaw, the shape and position of the tongue body, and larynx height. The acoustic and auditory consequences of varying these parameters individually are reported. The introduction of the jaw as a separate parameter—a feature not used in previous articulatory models—makes it possib…
Maximum speed of pitch changes in singers and untrained subjects
Rules for automated performance of ensemble music
Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble p…
Music from Motion
The common association of music with motion was investigated in a direct way. Could the original motion quality of different gaits be transferred to music and be perceived by a listener? Measurements of the ground reaction force by the foot during different gaits were transferred to sound by using the vertical force curve as sound level envelopes for tones played at different tempi. Three listening experiments assessed the motion quality of the r…
Speech and music performance
Speech and music performance are two important systems for interhuman communication by means of acoustic signals. These signals must be adapted to the human perceptual and cognitive systems. Hence a comparitive analysis of speech and music performances is likely to shed light on these systems, particularly regarding basic requirements for acoustic communication. Two computer programs are compared, one for text-to-speech conversion and one for not…
Attempts to Reproduce a Pianist?s Expressive Timing with Director Musices Performance Rules
The Director Musices generative grammar of music performance is a system of context dependent rules that automatically introduces expressive deviation in performances of input score files. A number of these rule concern timing. In this investigation the ability of such rules to reproduce a professional pianist’s timing deviations from nominal note inter-onset-intervals is examined. Rules affecting tone inter-onset-intervals were first tested one …
Musical punctuation on the microlevel
In this investigation we use the term musical punctuation for the marking of melodic structure by commas inserted at the boundaries that separate small structural units. Two models are presented that automatically try to locate the positions of such commas. They both use the score as the input and operate with a short context of maximally five notes. The first model is based on a set of subrules. One group of subrules mark possible comma position…
Acoustic and perceptual analysis of vocal dysfunction
Acoustical Consequences of Lip, Tongue, Jaw, and Larynx Movement
An articulatory model is presented. It defines a procedure for deriving a set of formant frequencies from information on the state of the lip muscles, the position of the jaw, the shape and position of the tongue body, and larynx height. The acoustic and auditory consequences of varying these parameters individually are reported. The introduction of the jaw as a separate parameter—a feature not used in previous articulatory models—makes it possib…
Maximum speed of pitch changes in singers and untrained subjects
Chairman’s Summary
Acoustic and perceptual analysis of vocal dysfunction
Dedication
Breathiness and insufficient vocal fold closure
An attempt to improve the clinical usefulness of phonetograms
Voice source effects of diaphragmatic activity in singing
Long-term average spectrum analysis of phonatory effects of noise and filtered auditory feedback
Speech and music performance
Speech and music performance are two important systems for interhuman communication by means of acoustic signals. These signals must be adapted to the human perceptual and cognitive systems. Hence a comparitive analysis of speech and music performances is likely to shed light on these systems, particularly regarding basic requirements for acoustic communication. Two computer programs are compared, one for text-to-speech conversion and one for not…
Rules for automated performance of ensemble music
Recently developed parts of a computer program are presented that contain a rule system which automatically converts music scores to musical performance, and which, in a sense, can be regarded as a model of a musically gifted player. The development of the rule system has followed the analysis-by-synthesis strategy; various rules have been formulated according to the suggestions of a professional string quartet violinist and teacher of ensemble p…
Musical punctuation on the microlevel
In this investigation we use the term musical punctuation for the marking of melodic structure by commas inserted at the boundaries that separate small structural units. Two models are presented that automatically try to locate the positions of such commas. They both use the score as the input and operate with a short context of maximally five notes. The first model is based on a set of subrules. One group of subrules mark possible comma position…
Four Years of Research on Music and Motion
(2000). Four Years of Research on Music and Motion. Journal of New Music Research: Vol. 29, No. 3, pp. 183-185
Music from Motion
The common association of music with motion was investigated in a direct way. Could the original motion quality of different gaits be transferred to music and be perceived by a listener? Measurements of the ground reaction force by the foot during different gaits were transferred to sound by using the vertical force curve as sound level envelopes for tones played at different tempi. Three listening experiments assessed the motion quality of the r…
Guest Editorial
Attempts to Reproduce a Pianist?s Expressive Timing with Director Musices Performance Rules
The Director Musices generative grammar of music performance is a system of context dependent rules that automatically introduces expressive deviation in performances of input score files. A number of these rule concern timing. In this investigation the ability of such rules to reproduce a professional pianist’s timing deviations from nominal note inter-onset-intervals is examined. Rules affecting tone inter-onset-intervals were first tested one …
Augmented visual-feedback of airflow
Glottal adduction is a crucial aspect in voice education and vocal performance: it has major effects on phonatory airflow and, consequently, on voice timbre. As the voice is a non-visible musical instrument, controlling it could be facilitated by providing real-time visual feedback of phonatory airflow. Here, we test the usefulness of a flow ball (FB) training device, visualizing, in terms of the height of a polystyrene ball placed in a plastic b…
Computer Science (15 obras) · Speech recognition (12 obras) · Psychology (9 obras) · Acoustics (8 obras) · Medicine (8 obras) · Audiology (7 obras) · Mathematics (7 obras) · Physics (7 obras) · Music Technology and Sound Studies (6 obras) · Artificial Intelligence (5 obras)