Antonio Rodà
Biographic Data
| ID | 3656149 |
|---|---|
| NAME | Antonio Rodà |
| GIVEN NAMES | Antonio |
| FAMILY NAME | Rodà |
| SIGNATURE | RODA A |
| AFFILIATIONS | University of Padua |
| ORCID | 0000-0001-9921-0590 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Multimodal musealization of an ancient musical artefact: From investigation to simulation and interactive engagement
Artificial Intelligence for Musical Cultural Heritage: Preservation, Interpretation, and Human-Centered Creativity at the Centro di Sonologia Computazionale
Artificial intelligence is increasingly shaping the preservation, interpretation, management, and reactivation of musical cultural heritage, especially in domains affected by technological obsolescence such as computer music, electroacoustic works, and analog audio archives. This perspective and case-study article examines the research trajectory of the Centro di Sonologia Computazionale (CSC) of the University of Padua through three analytically…
Linking vestibular, tactile, and somatosensory rhythm perception to language development in infancy
First experiences with rhythm occur in the womb, with different rhythmic sources being available to the human fetus. Among sensory modalities, vestibular, tactile, and somatosensory perception plays a crucial role in early processing. However, a limited number of studies so far have specifically focused on VTS rhythms in language development. The present work investigated VTS rhythmic abilities and their role in language acquisition through two e…
Control and value appraisals and online multiple‐text comprehension in primary school: The mediating role of boredom and the moderating role of word‐reading fluency
BACKGROUND: Online multiple-text comprehension is a key skill of the 21st Century, yet the study of its relations with boredom in young students has been disregarded. Boredom is an achievement emotion expected to be predicted negatively by antecedents like control and value appraisals and to be associated to a negative performance. Notwithstanding its documented domain-specificity, scarce attention has been paid to investigating these relations w…
Algorithms can Mimic Human Piano Performance: The Deep Blues of Music
Can a computer play a music score, e.g. via a Disklavier, in a way that cannot be distinguished from a human performance of the same music? One hundred and seventy-two participants with a wide range of music playing backgrounds rated sound recordings of 7 performances of piano music by Kuhlau, one played by a human, and six generated by algorithms, including a ‘mechanical’ and an ‘unmusical’ rendering. Participants rated the extent to which each …
Is Vivaldi smooth and takete? Non-verbal sensory scales for describing music qualities
Studies on the perception of music qualities (such as induced or perceived emotions, performance styles, or timbre nuances) make a large use of verbal descriptors. Although many authors noted that particular music qualities can hardly be described by means of verbal labels, few studies have tried alternatives. This paper aims at exploring the use of non-verbal sensory scales, in order to represent different perceived qualities in Western classica…
Pavarotti Sings Again: A Multidisciplinary Approach to the Active Preservation of the Audio Collection at the Arena di Verona
This article presents the results of the research project REVIVAL (2009–2012), aimed at the development of a hardware/software platform to support the preservation of the audio collection of the Fondazione Arena di Verona, with a special attention on protocols and tools for quality control. The most significant achievements of the project are (i) the set up of a working environment inside the archive; (ii) the knowledge transfer to the archival p…
Toward an Action Based Metaphor for Gestural Interaction with Musical Contents
Technology-mediated music access is more and more becoming an interactive process, involving non-linguistic communication and action-based modalities. A better understanding of the musical experience and how this experience can be described is a crucial issue to render more effective and natural the interaction with musical contents. This paper aims at verifying if and how non-linguistic descriptors can be related to musical stimuli and their exp…
Communicating expressive intentions with a single piano note
We analysed how expressive intentions are communicated and perceived in a special context of musical production: improvisation on a single piano note. Two experiments were designed in order to find relations between performer's expressive intentions, four acoustical parameters (pitch, intensity, articulation and rhythmic density), and listener's perception of expressive content. Differences between musicians and non-musicians were analysed as wel…
Note-by-note analysis of the influence of expressive intentions and musical structure in violin performance
This paper describes an analysis of how the performance of a score differs when musicians are requested to play with differing expression. A professional violinist was asked to play short pieces of music in different versions expressing light, heavy, soft, hard, bright, and dark. For comparison, a normal, standard performance was recorded. Note‐by‐note analysis allowed us to identify the variations of the main acoustic parameters as a consequence…
Toward an Action Based Metaphor for Gestural Interaction with Musical Contents
Technology-mediated music access is more and more becoming an interactive process, involving non-linguistic communication and action-based modalities. A better understanding of the musical experience and how this experience can be described is a crucial issue to render more effective and natural the interaction with musical contents. This paper aims at verifying if and how non-linguistic descriptors can be related to musical stimuli and their exp…
Note-by-note analysis of the influence of expressive intentions and musical structure in violin performance
This paper describes an analysis of how the performance of a score differs when musicians are requested to play with differing expression. A professional violinist was asked to play short pieces of music in different versions expressing light, heavy, soft, hard, bright, and dark. For comparison, a normal, standard performance was recorded. Note‐by‐note analysis allowed us to identify the variations of the main acoustic parameters as a consequence…
Control and value appraisals and online multiple‐text comprehension in primary school: The mediating role of boredom and the moderating role of word‐reading fluency
BACKGROUND: Online multiple-text comprehension is a key skill of the 21st Century, yet the study of its relations with boredom in young students has been disregarded. Boredom is an achievement emotion expected to be predicted negatively by antecedents like control and value appraisals and to be associated to a negative performance. Notwithstanding its documented domain-specificity, scarce attention has been paid to investigating these relations w…
Algorithms can Mimic Human Piano Performance: The Deep Blues of Music
Can a computer play a music score, e.g. via a Disklavier, in a way that cannot be distinguished from a human performance of the same music? One hundred and seventy-two participants with a wide range of music playing backgrounds rated sound recordings of 7 performances of piano music by Kuhlau, one played by a human, and six generated by algorithms, including a ‘mechanical’ and an ‘unmusical’ rendering. Participants rated the extent to which each …
Note-by-note analysis of the influence of expressive intentions and musical structure in violin performance
This paper describes an analysis of how the performance of a score differs when musicians are requested to play with differing expression. A professional violinist was asked to play short pieces of music in different versions expressing light, heavy, soft, hard, bright, and dark. For comparison, a normal, standard performance was recorded. Note‐by‐note analysis allowed us to identify the variations of the main acoustic parameters as a consequence…
Communicating expressive intentions with a single piano note
We analysed how expressive intentions are communicated and perceived in a special context of musical production: improvisation on a single piano note. Two experiments were designed in order to find relations between performer's expressive intentions, four acoustical parameters (pitch, intensity, articulation and rhythmic density), and listener's perception of expressive content. Differences between musicians and non-musicians were analysed as wel…
Toward an Action Based Metaphor for Gestural Interaction with Musical Contents
Technology-mediated music access is more and more becoming an interactive process, involving non-linguistic communication and action-based modalities. A better understanding of the musical experience and how this experience can be described is a crucial issue to render more effective and natural the interaction with musical contents. This paper aims at verifying if and how non-linguistic descriptors can be related to musical stimuli and their exp…
Pavarotti Sings Again: A Multidisciplinary Approach to the Active Preservation of the Audio Collection at the Arena di Verona
This article presents the results of the research project REVIVAL (2009–2012), aimed at the development of a hardware/software platform to support the preservation of the audio collection of the Fondazione Arena di Verona, with a special attention on protocols and tools for quality control. The most significant achievements of the project are (i) the set up of a working environment inside the archive; (ii) the knowledge transfer to the archival p…
Is Vivaldi smooth and takete? Non-verbal sensory scales for describing music qualities
Studies on the perception of music qualities (such as induced or perceived emotions, performance styles, or timbre nuances) make a large use of verbal descriptors. Although many authors noted that particular music qualities can hardly be described by means of verbal labels, few studies have tried alternatives. This paper aims at exploring the use of non-verbal sensory scales, in order to represent different perceived qualities in Western classica…
Algorithms can Mimic Human Piano Performance: The Deep Blues of Music
Can a computer play a music score, e.g. via a Disklavier, in a way that cannot be distinguished from a human performance of the same music? One hundred and seventy-two participants with a wide range of music playing backgrounds rated sound recordings of 7 performances of piano music by Kuhlau, one played by a human, and six generated by algorithms, including a ‘mechanical’ and an ‘unmusical’ rendering. Participants rated the extent to which each …
Control and value appraisals and online multiple‐text comprehension in primary school: The mediating role of boredom and the moderating role of word‐reading fluency
BACKGROUND: Online multiple-text comprehension is a key skill of the 21st Century, yet the study of its relations with boredom in young students has been disregarded. Boredom is an achievement emotion expected to be predicted negatively by antecedents like control and value appraisals and to be associated to a negative performance. Notwithstanding its documented domain-specificity, scarce attention has been paid to investigating these relations w…
Linking vestibular, tactile, and somatosensory rhythm perception to language development in infancy
First experiences with rhythm occur in the womb, with different rhythmic sources being available to the human fetus. Among sensory modalities, vestibular, tactile, and somatosensory perception plays a crucial role in early processing. However, a limited number of studies so far have specifically focused on VTS rhythms in language development. The present work investigated VTS rhythmic abilities and their role in language acquisition through two e…
Multimodal musealization of an ancient musical artefact: From investigation to simulation and interactive engagement
Artificial Intelligence for Musical Cultural Heritage: Preservation, Interpretation, and Human-Centered Creativity at the Centro di Sonologia Computazionale
Artificial intelligence is increasingly shaping the preservation, interpretation, management, and reactivation of musical cultural heritage, especially in domains affected by technological obsolescence such as computer music, electroacoustic works, and analog audio archives. This perspective and case-study article examines the research trajectory of the Centro di Sonologia Computazionale (CSC) of the University of Padua through three analytically…
Computer Science (7 works) · Musical (7 works) · Cognitive psychology (6 works) · Music and Audio Processing (6 works) · Psychology (6 works) · Art (5 works) · Music Technology and Sound Studies (5 works) · Neuroscience and Music Perception (5 works) · Visual arts (5 works) · Linguistics (3 works)