Introduction 1

I Analysis and Synthesis 7

2 Beautiful Deviations 11
2.1 Detecting the Difference 11
2.2 Synthesising Artistic Deviations 15

3 Rhythm Research 19
3.1 Timing Synthesis 20
3.2 Musical Time 21
3.3 Analysis and Synthesis 22

4 The Phrase Arch Model 25
4.1 Phrase Shaping 26
4.2 The Phrase Arch 27

5 Machine Learning 33
5.1 Intelligent Listeners 33
5.2 How to play Mozart? 34
5.3 How to play Chopin? 37

6 Rule Systems 43
6.1 The Director Musices 43
6.2 Schumann’s Träumerei 44
6.3 Performing Emotions 47
6.4 How to play Bach? 50

7 MusicoLogic 55
7.1 Following the Musician: Structure to Performance 56
7.2 Following the Critique: Inverse Performance Theory 59

8 The Reactive Orchestra 63
8.1 Timing 64
8.2 Loudness 66
8.3 Articulation 68
8.4 Parameter Finding 69

9 Discussion 71

II Baroque Performance Characteristics 75

10 Parameter Extraction 83
10.1 Onset Detection 83
10.2 Loudness Analysis 93

11 Timing 99
11.1 Material and Methodology 99
11.2 Macro Timing 101
11.3 Micro Timing: First Note Lengthening 106
11.4 Summary 113

12 Loudness Transitions 115
12.1 Material and Methodology 115
12.3 Results 119
12.4 Summary 122

13 Bar Emphasis 125
13.1 Material and Methodology 125
13.2 Timing 126
13.3 Loudness 127
13.4 Summary 128

14 Articulation 131
14.1 Material and Methodology 131
14.2 Results 132
14.3 Articulation Rules 135
14.4 Summary 143

15 Conclusion 145

III Baroque Performance Synthesis 147

16 Pseudo-Synthetic Performance 151
16.1 Stimuli and Method 151
16.2 Results 152

17 Plausibility I: Estimation 157
17.1 Methodology 157
17.2 Results 164
17.3 Discussion 169

18 Plausibility II: Synchronisation 171
18.1 Methodology 171
18.2 Discussion 176

19 Inégalité 179
19.1 Methodology 180
19.2 Results 183
19.3 Discussion 187

20 Final Remarks 189

Appendix 191