Publikationer av Anders Friberg
Refereegranskade
Artiklar
[1]
Friberg, A., Gulz, T. & Wettebrandt, C. (2023). Computer Tools for Modeling Swing in a Jazz Ensemble. Computer music journal, 47(1), 85-109.
[2]
Jones, G. & Friberg, A. (2023). Probing the underlying principles of dynamics in piano performances using a modelling approach. Frontiers in Psychology, 14.
[3]
Clemente, A., Friberg, A. & Holzapfel, A. (2023). Relations between perceived affect and liking for melodies and visual designs. Emotion, 23(6), 1584-1605.
[4]
Zamorano, A. M., Zatorre, R. J., Vuust, P., Friberg, A., Birbaumer, N. & Kleber, B. (2023). Singing training predicts increased insula connectivity with speech and respiratory sensorimotor areas at rest. Brain Research, 1813.
[5]
Bisesi, E., Friberg, A. & Parncutt, R. (2019). A Computational Model of Immanent Accent Salience in Tonal Music. Frontiers in Psychology, 10(317), 1-19.
[6]
Finkel, S., Veit, R., Lotze, M., Friberg, A., Vuust, P., Soekadar, S. ... Kleber, B. (2019). Intermittent theta burst stimulation over right somatosensory larynx cortex enhances vocal pitch‐regulation in nonsingers. Human Brain Mapping.
[7]
Friberg, A., Bisesi, E., Addessi, A. R. & Baroni, M. (2019). Probing the Underlying Principles of Perceived Immanent Accents Using a Modeling Approach. Frontiers in Psychology, 10.
[8]
Friberg, A., Lindeberg, T., Hellwagner, M., Helgason, P., Salomão, G. L., Elowsson, A. ... Ternström, S. (2018). Prediction of three articulatory categories in vocal sound imitations using models for auditory receptive fields. Journal of the Acoustical Society of America, 144(3), 1467-1483.
[9]
Addessi, A. R., Anelli, F., Benghi, D. & Friberg, A. (2017). Child-Computer Interaction at the Beginner Stage of Music Learning : Effects of Reflexive Interaction on Children's Musical Improvisation. Frontiers in Psychology, 8.
[10]
Addessi, A. R., Anelli, F., Benghi, D. & Friberg, A. (2017). Corrigendum : Child-computer interaction at the beginner stage of music learning: Effects of reflexive interaction on children's musical improvisation [Front. Psychol.8 (2017)(65)]. Doi: 10.3389/fpsyg.2017.00065. Frontiers in Psychology, 8(MAR).
[11]
Elowsson, A. & Friberg, A. (2017). Predicting the perception of performed dynamics in music audio with ensemble learning. Journal of the Acoustical Society of America, 141(3), 2224-2242.
[12]
Kleber, B., Friberg, A., Zeitouni, A. & Zatorre, R. (2016). Experience-dependent modulation of right anterior insula and sensorimotor regions as a function of noise-masked auditory feedback in singers and nonsingers. NeuroImage, 147, 97-110.
[13]
Lindborg, P. M. & Friberg, A. (2016). Personality Traits Bias the Perceived Quality of Sonic Environment. Applied Sciences : APPS, 6(12).
[14]
Lindborg, P. & Friberg, A. K. (2015). Colour Association with Music is Mediated by Emotion : Evidence from an Experiment using a CIE Lab Interface and Interviews. PLOS ONE, 10(12).
[15]
Lindeberg, T. & Friberg, A. (2015). Idealized computational models for auditory receptive fields. PLOS ONE, 10(3).
[16]
Elowsson, A. & Friberg, A. (2015). Modeling the perception of tempo. Journal of the Acoustical Society of America, 137(6), 3163-3177.
[17]
Friberg, A., Schoonderwaldt, E., Hedblad, A., Fabiani, M. & Elowsson, A. (2014). Using listener-based perceptual features as intermediate representations in music information retrieval. Journal of the Acoustical Society of America, 136(4), 1951-1963.
[18]
Eerola, T., Friberg, A. & Bresin, R. (2013). Emotional expression in music : Contribution, linearity, and additivity of primary musical cues. Frontiers in Psychology, 4, 487.
[19]
Kleber, B., Zeitouni, A. G., Friberg, A. & Zatorre, R. J. (2013). Experience-Dependent Modulation of Feedback Integration during Singing : Role of the Right Anterior Insula. Journal of Neuroscience, 33(14), 6070-6080.
[20]
Istók, E., Friberg, A., Huotilainen, M. & Tervaniemi, M. (2013). Expressive Timing Facilitates the Neural Processing of Phrase Boundaries in Music : Evidence from Event-Related Potentials. PLOS ONE, 8(1), e55150.
[21]
Istok, E., Friberg, A., Huotilainen, M. & Tervaniemi, M. (2012). Expressive timing facilitates the processing of phrase boundaries in music : Evidence from the event-related potential. International Journal of Psychophysiology, 85(3), 403-404.
[22]
Bresin, R. & Friberg, A. (2011). Emotion rendering in music : Range and characteristic values of seven musical variables. Cortex, 47(9), 1068-1081.
[23]
Fabiani, M. & Friberg, A. (2011). Influence of pitch, loudness, and timbre on the perception of instrument dynamics. Journal of the Acoustical Society of America, 130(4), EL193-EL199.
[24]
Friberg, A. & Ahlback, S. (2009). Recognition of the Main Melody in a Polyphonic Symbolic Score using Perceptual Knowledge. Journal of New Music Research, 38(2), 155-169.
[25]
Friberg, A., Schoonderwaldt, E. & Juslin, P. N. (2007). CUEX : An algorithm for automatic extraction of expressive tone parameters in music performance from acoustic signals. Acta Acoustica united with Acustica, 93(3), 411-420.
[26]
Dahl, S. & Friberg, A. (2007). Visual perception of expressiveness in musicians' body movements. Music perception, 24(5), 433-454.
[27]
Friberg, A., Bresin, R. & Sundberg, J. (2006). Overview of the KTH rule system for musical performance. Advances in Cognitive Psychology, 2(2-3), 145-161.
[28]
Juslin, P. N., Karlsson, J., Lindström, E., Friberg, A. & Schoonderwaldt, E. (2006). Play it again with feeling : Computer feedback in musical communication of emotions. Journal of experimental psychology. Applied, 12(2), 79-95.
[29]
Friberg, A. (2006). pDM : An expressive sequencer with real-time control of the KTH music-performance rules. Computer music journal, 30(1), 37-48.
[30]
Lindström, E., Camurri, A., Friberg, A., Volpe, G. & Rinman, M. L. (2005). Affect, attitude and evaluation of multisensory performances. Journal of New Music Research, 34(1), 69-86.
[31]
Camurri, A., De Poli, G., Friberg, A., Leman, M. & Volpe, G. (2005). The MEGA project : Analysis and synthesis of multisensory expressive gesture in performing art applications. Journal of New Music Research, 34(1), 5-21.
[32]
Sundberg, J., Friberg, A. & Bresin, R. (2003). Attempts to reproduce a pianist's expressive timing with director musices performance rules. Journal of New Music Research, 32(3), 317-325.
[33]
Schoonderwaldt, E., Friberg, A., Bresin, R. & Juslin, P. N. (2002). A system for improving the communication of emotion in music performance by feedback learning. Journal of the Acoustical Society of America, 111(5), 2471.
[34]
Friberg, A. & Sundström, A. (2002). Swing ratios and ensemble timing in jazz performance : Evidence for a common rhythmic pattern. Music perception, 19(3), 333-349.
[35]
Juslin, P. N., Friberg, A. & Bresin, R. (2002). Toward a computational model of expression in music performance: The GERM model. Musicae scientiae, Special Issue 2001-2002, 63-122.
[36]
Bresin, R. & Friberg, A. (2000). Emotional coloring of computer controlled music performance. Computer music journal, 24(4), 44-61.
[37]
Bresin, R. & Friberg, A. (2000). Emotional coloring of computer controlled music performance. Computer music journal, 24(4), 44-63.
[38]
Friberg, A., Colombo, V., Fryden, L. & Sundberg, J. (2000). Generating musical performances with Director Musices. Computer music journal, 24(3), 23-29.
[39]
Friberg, A., Sundberg, J. & Fryden, L. (2000). Music from motion : Sound level envelopes of tones expressing human locomotion. Journal of New Music Research, 29(3), 199-210.
[40]
Friberg, A. & Sundberg, J. (1999). Does music performance allude to locomotion? : A model of final ritardandi derived from measurements of stopping runners. Journal of the Acoustical Society of America, 105(3), 1469-1484.
[41]
Friberg, A., Bresin, R., Frydén, L. & Sundberg, J. (1998). Musical punctuation on the microlevel : Automatic identification and performance of small melodic units. Journal of New Music Research, 27(3), 271-292.
[42]
Friberg, A., Bresin, R., Fryden, L. & Sundberg, J. (1998). Musical punctuation on the microlevel : Automatic identification and performance of small melodic units. Journal of New Music Research, 27(3), 271-292.
[43]
Friberg, A. & Sundberg, J. (1995). Time discrimination in a monotonic, isochronous sequence. Journal of the Acoustical Society of America, 5(98), 2524-2531.
[44]
Friberg, A. (1991). Generative Rules for Music Performance : A Formal Description of a Rule System. Computer music journal, 15(2), 56-71.
[45]
Friberg, A., Frydén, L., Bodin, L. G. & Sundberg, J. (1991). Performance Rules for Computer-Controlled Contemporary Keyboard Music. Computer music journal, 15(2), 49-55.
[46]
Sundberg, J., Friberg, A. & Frydén, L. (1991). Threshold and preference Quantities of Rules for Music Performance. Music perception, 9(1), 71-92.
[47]
Sundberg, J., Friberg, A. & Frydén, L. (1989). Rules for automated performance of ensemble music. Contemporary Music Review, 3, 89-109.
[48]
Carlson, R., Friberg, A., Frydén, L., Granström, B. & Sundberg, J. (1989). Speech and music performance : parallels and contrasts. Contemporary Music Review, 4, 389-402.
[49]
Thompson, W. F., Sundberg, J., Friberg, A. & Frydén, L. (1989). The Use of Rules for Expression in the Performance of Melodies. Psychology of Music, 17, 63-82.
[50]
Ternström, S., Sundberg, J. & Friberg, A. (1988). Synthesizing choir singing. Journal of Voice, 1(4), 332-335.
Konferensbidrag
[51]
Gulz, T., Holzapfel, A., Friberg, A. (2019). Developing a Method for Identifying Improvisation Strategies in Jazz Duos. I Proc. of the 14th International Symposium on CMMR. (s. 482-489). Marseille Cedex.
[52]
Elowsson, A., Friberg, A. (2019). Modeling Music Modality with a Key-Class Invariant Pitch Chroma CNN. I Proceedings of the 20th International Society for Music Information Retrieval Conference, ISMIR 2019..
[53]
Dubois, J., Elovsson, A., Friberg, A. (2019). Predicting Perceived Dissonance of Piano Chords Using a Chord-Class Invariant CNN and Deep Layered Learning. I Proceedings of 16th Sound & Music Computing Conference (SMC), Malaga, Spain. (s. 530-536).
[54]
Karipidou, K., Ahnlund, J., Friberg, A., Alexanderson, S., Kjellström, H. (2017). Computer Analysis of Sentiment Interpretation in Musical Conducting. I Proceedings - 12th IEEE International Conference on Automatic Face and Gesture Recognition, FG 2017. (s. 400-405). IEEE.
[55]
Friberg, A., Choi, K., Schön, R., Downie, J. S., Elowsson, A. (2017). Cross-cultural aspects of perceptual features in K-pop : A pilot study comparing Chinese and Swedish listeners. I 2017 ICMC/EMW - 43rd International Computer Music Conference and the 6th International Electronic Music Week. (s. 291-296). Shanghai Conservatory of Music.
[56]
Elowsson, A., Friberg, A. (2017). Long-term Average Spectrum in Popular Music and its Relation to the Level of the Percussion. I AES 142nd Convention, Berlin, Germany..
[57]
Lindeberg, T., Friberg, A. (2015). Scale-space theory for auditory signals. I Scale Space and Variational Methods in Computer Vision: 5th International Conference, SSVM 2015, Lège-Cap Ferret, France, May 31 - June 4, 2015, Proceedings. (s. 3-15). Springer.
[58]
Einarsson, A., Friberg, A. (2015). Using Singing Voice Vibrato as a Control Parameter in a Chamber Oper. I Using Singing Voice Vibrato as a Control Parameter in a Chamber Opera: Proceedings of International Computer Music Conference (ICMC),. International Computer Music Association.
[59]
Wolff, D., Bellec, G., Friberg, A., MacFarlane, A., Weyde, T. (2014). Creating audio based experiments as social Web games with the CASimIR framework. I Proceedings of the AES International Conference. (s. 288-297).
[60]
Elowsson, A., Schön, R., Höglund, M., Zea, E., Friberg, A. (2014). Estimation of vocal duration in monaural mixtures. I Proceedings - 40th International Computer Music Conference, ICMC 2014 and 11th Sound and Music Computing Conference, SMC 2014 - Music Technology Meets Philosophy: From Digital Echos to Virtual Ethos. (s. 1172-1177). National and Kapodistrian University of Athens.
[61]
Masko, J., Fischer Friberg, J., Friberg, A. (2014). Software tools for automatic music performance. I 1st international workshop on computer and robotic Systems for Automatic Music Performance (SAMP14). Venice.
[62]
Parncutt, R., Bisesi, E., Friberg, A. (2013). A Preliminary Computational Model of Immanent Accent Salience in Tonal Music. I Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden. (s. 335-340).
[63]
Bellec, G., Elowsson, A., Friberg, A., Wolff, D., Weyde, T. (2013). A social network integrated game experiment to relate tapping to speed perception and explore rhythm reproduction. I Proceedings of the Sound and Music Computing Conference 2013. (s. 19-26).
[64]
Elowsson, A., Friberg, A. (2013). Modelling Perception of Speed in Music Audio. I Proceedings of the Sound and Music Computing Conference 2013. (s. 735-741).
[65]
Elowsson, A., Friberg, A., Madison, G., Paulin, J. (2013). Modelling the Speed of Music Using Features from Harmonic/Percussive Separated Audio. I Proceedings of the 14th International Society for Music Information Retrieval Conference. (s. 481-486).
[66]
Elowsson, A., Friberg, A. (2012). Algorithmic Composition of Popular Music. I Proceedings of the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music. (s. 276-285).
[67]
Friberg, A. (2012). Music Listening from an Ecological Perspective. I Poster presented at the 12th International Conference on Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences of Music..
[68]
Friberg, A., Hedblad, A. (2011). A Comparison of Perceptual Ratings and Computed Audio Features. I Proceedings of the SMC 2011 - 8th Sound and Music Computing Conference. (s. 122-127).
[69]
Bisesi, E., Parncutt, R., Friberg, A. (2011). An accent-based approach to performance rendering: Music theory meets music psychology. I Proceedings of ISPS 2011. (s. 27-32). Utrecht: the European Association of Conservatoires (AEC).
[70]
Friberg, A., Källblad, A. (2011). Experiences from video-controlled sound installations. I Proceedings of New Interfaces for Musical Expression - NIME, Oslo, 2011. (s. 128-131).
[71]
Friberg, A., Bresin, R., Hansen, K. F., Fabiani, M. (2009). Enabling emotional expression and interaction with new expressive interfaces. I Front. Hum. Neurosci. Conference Abstract: Tuning the Brain for Music..
[72]
Hansen, K. F., Bresin, R., Friberg, A. (2008). Describing the emotional content of hip-hop DJ recordings. I The Neurosciences and Music III. (s. 565). Montreal: New York Academy of Sciences.
[73]
Friberg, A. (2008). Digital audio emotions : An overview of computer analysis and synthesis of emotions in music. I Proc. of the 11th Int. Conference on Digital Audio Effects (DAFx-08), Espoo, Finland. (s. 1-6).
[74]
Istok, E., Tervaniemi, M., Friberg, A., Seifert, U. (2008). Effects of timing cues in music performances on auditory grouping and pleasantness judgments. Presenterad vid ICMPC10 (The 10th International Conference on Music Perception and Cognition), Sapporo, Japan, August 25-29, 2008.
[75]
Källblad, A., Friberg, A., Svensson, K., Sjöstedt Edelholm, E. (2008). Hoppsa Universum – An interactive dance installation for children. I Proceedings of New Interfaces for Musical Expression (NIME), Genova, 2008. (s. 128-133).
[76]
Bresin, R., Friberg, A. (2008). Influence of Acoustic Cues on the Expressive Performance of Music. I Proceedings of the 10th International Conference on Music Perception and Cognition. Sapporo, Japan.
[77]
Fabiani, M., Friberg, A. (2008). Rule-based expressive modifications of tempo in polyphonic audio recordings. I COMPUTER MUSIC MODELING AND RETRIEVAL: SENSE OF SOUNDS. (s. 288-302). BERLIN: SPRINGER-VERLAG.
[78]
Fabiani, M., Friberg, A. (2007). A prototype system for rule-based expressive modifications of audio recordings. I Proc. of the Int. Symp. on Performance Science 2007. (s. 355-360). Porto, Portugal: AEC (European Conservatories Association).
[79]
Fabiani, M., Friberg, A. (2007). Expressive modifications of musical audio recordings : preliminary results. I Proc. of the 2007 Int. Computer Music Conf. (ICMC07). (s. 21-24). Copenhagen, Denmark: The International Computer Music Association and Re:New.
[80]
Hansen, K. F., Bresin, R., Friberg, A. (2006). Principles for expressing emotional content in turntable scratching. I Proc. 9th International Conference on Music Perception & Cognition. (s. 532-533). Bologna: Bonomia University Press.
[81]
Friberg, A. (2005). A fuzzy analyzer of emotional expression in music performance and body motion. I Proceedings of Music and Music Science, Stockholm 2004..
[82]
Friberg, A. (2005). Home conducting : Control the overall musical expression with gestures. I Proceedings of the 2005 International Computer Music Conference. (s. 479-482). San Francisco: International Computer Music Association.
[83]
Dahl, S., Friberg, A. (2004). Expressiveness of musician's body movements in performances on marimba. I Gesture-Based Communication in Human-Computer Interaction. (s. 479-486). Genoa: Springer Verlag.
[84]
Rinman, M. L., Friberg, A., Bendiksen, B., Cirotteau, D., Dahl, S., Kjellmo, I., Mazzarino, B., Camurri, A. (2004). Ghost in the Cave : an interactive collaborative game using non-verbal communication. I GESTURE-BASED COMMUNICATION IN HUMAN-COMPUTER INTERACTION. (s. 549-556). Berlin: Springer Verlag.
[85]
Mathews, M. V., Friberg, A., Bennett, G., Sapp, C., Sundberg, J. (2003). A marriage of the Director Musices program and the conductor program. I Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden. (s. 13-16).
[86]
Rinman, M.-L., Friberg, A., Kjellmo, I., Camurri, A., Cirotteau, D., Dahl, S., Mazzarino, B., Bendiksen, B., McCarthy, H. (2003). EPS - an interactive collaborative game using non-verbal communication. I Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden. (s. 561-563).
[87]
Canazza, S., Friberg, A., Rodà, A., Zanon, P. (2003). Expressive Director : a system for the real-time control of music performance synthesis. I Proc of SMAC 2003, Stockholm Music Acoustics Conference. (s. 521-524).
[88]
Dahl, S., Friberg, A. (2003). What can the body movements reveal about a musician’s emotional intention?. I Proc of SMAC 03, Stockholm Music Acoustics Conference. (s. 599-602).
[89]
Friberg, A., Schoonderwaldt, E., Juslin, P. N., Bresin, R. (2002). Automatic real-time extraction of musical expression. I Proceedings of the International Computer Music Conference, ICMC 2002. (s. 365-367).
[90]
Juslin, P. N., Friberg, A., Bresin, R. (2002). Computational modelling of different aspects of expressivity: The GERM model. I Proceedings of ICMPC7 - 7th International Conference on Music Perception & Cognition. (s. 13).
[91]
Bresin, R., Friberg, A., Sundberg, J. (2002). Director musices : The KTH performance rules system. I Proceedings of SIGMUS-46. (s. 43-48). Information Processing Society of Japan,.
[92]
Sundberg, J., Friberg, A., Mathews, M. V., Bennett, G. (2001). Experiences of combining the radio baton with the director musices performance grammar. I MOSART project workshop on current research directions in computer music..
[93]
Bresin, R., Friberg, A. (2001). Expressive musical icons. I Proceedings of the International Conference on Auditory Display - ICAD 2001. (s. 141-143).
[94]
Bresin, R., Friberg, A., Dahl, S. (2001). Toward a new model for sound control. I Proceedings of the COST G-6 Conference on Digital Audio Effects (DAFX-01), Limerick, Ireland, December 6-8, 200. (s. 45-49).
[95]
Schoonderwaldt, E., Friberg, A. (2001). Towards a rule-based model for violin vibrato. I Proc of the Workshop on Current Research Directions in Computer Music. (s. 61-64).
[96]
Ross, J., Friberg, A. (2000). Generative Performance Rules and Folksong Performance. I Sixth International Conference on Music Perception and Cognition, Keele, UK, August 2000..
[97]
Bresin, R., Friberg, A. (2000). Rule-based emotional colouring of music performance. I Proceedings of the International Computer Music Conference - ICMC 2000. (s. 364-367). San Francisco: ICMA.
[98]
Bresin, R., Friberg, A. (2000). Software Tools for Musical Expression. I Proceedings of the 2000 International Computer Music Conference, ICMC 2000. International Computer Music Association.
[99]
Bresin, R., Friberg, A. (2000). Software tools for musical expression. I Proceedings of the InternationalComputer Music Conference 2000. (s. 499-502). San Francisco, USA: Computer Music Association.
[100]
Bresin, R., Friberg, A. (1999). Synthesis and decoding of emotionally expressive music performance. I Proceedings of the IEEE 1999 Systems, Man and Cybernetics Conference - SMC’99. (s. 317-322).
[101]
Bresin, R., Friberg, A. (1997). A multimedia environment for interactive music performance. I Proceedings of KANSEI - The Technology of Emotion, AIMI International Workshop. (s. 64-67).
[102]
Friberg, A., Frydén, L., Sundberg, J. (1997). A rule for automatic musical punctuation of melodies. I Proc of 3rd Triennial ESCOM Conference. (s. 719-723).
[103]
Friberg, A., Bresin, R. (1997). Automatic musical punctuation : A rule system and a neural network approach. I Proceedings of KANSEI - The Technology of Emotion, AIMI Intl Workshop. (s. 159-163).
[104]
Friberg, A., Sundberg, J. (1997). Comparing runners« decelerations and final ritards. I Proc of 3rd Triennial ESCOM Conference. (s. 582-586).
[105]
Sundberg, J., Friberg, A. (1996). Stopping running and stopping a piece of music. Comparing locomotion and music performance. I Proc of NAM 96, Nordic Acoustical Meeting. (s. 351-358).
[106]
Friberg, A., Sundberg, J., Frydén, L. (1995). The KTH rules for musical performance : Overview and recent additions. I Proc of 15th Intl Congress on Acoustics (ICA«95). (s. 431-434).
[107]
Sundberg, J., Frydén, L., Friberg, A. (1994). Expressive aspects of instrumental and sung performance. I Proceedings of the Symposium on Psychophysiology and Psychopathology of the Sense of Music. Heidelberg: Springer Berlin/Heidelberg.
[108]
Friberg, A., Sundberg, J. (1994). Just Noticable Difference in duration, pitch and sound level in a musical context. I Proceedings of 3rd International Conference for Music Perception and Cognition, Liège 1994. (s. 339-340).
[109]
Sundberg, J., Friberg, A., Frydén, L. (1994). Music and locomotion. Perception of tones with level envelopes replicating force patterns of walking. I Proc. of SMAC ’93, Stockholm Music Acoustics Conference. (s. 136-141).
[110]
Friberg, A., Sundberg, J. (1994). Perception of just noticeable time displacement of a tone presented in a metrical sequence at different tempos. I Proc. of SMAC ’93, Stockholm Music Acoustics Conference. (s. 39-43).
[111]
Friberg, A., Sundberg, J., Frydén, L. (1994). Recent musical performance research at KTH. I Proceedings of the Aarhus symposium on Generative grammars for music performance 1994. (s. 7-12).
[112]
Friberg, A., Sundberg, J., Frydén, L. (1987). How to terminate a phrase. An analysis-by-synthesis experiment on the perceptual aspect of music performance. I Action and Perception of rhythm and music. (s. 49-55).
[113]
Friberg, A., Sundberg, J. (1987). Using Rules to Control the Musical Performance. I Actes du Symposium Systèmes Personnels et Informatique Musicale, IRCAM, 1986..
[114]
Friberg, A., Sundberg, J. (1986). A Lisp Environment for Creating and Applying Rules for Musical Performance. I Proceedings of the International Computer Music Conference 1986. (s. 1-3).
Kapitel i böcker
[115]
Friberg, A., Bresin, R. & Sundberg, J. (2014). Analysis by synthesis. I Thompson, W. F. (Red.), Music in the Social and Behavioral Sciences. Los Angeles: Sage Publications.
[116]
Friberg, A., Bresin, R. & Sundberg, J. (2014). Expressive timing. I Thompson, W. F. (Red.), Music in the Social and Behavioral Sciences (s. 440-442). Los Angeles: Sage Publications.
[117]
Friberg, A. & Bisesi, E. (2014). Using computational models of music performance to model stylistic variations. I Fabian, D.; Timmers, R.; Schubert, E. (Red.), Expressiveness in music performance: Empirical approaches across styles and cultures (s. 240-259). Oxford University Press.
[118]
Bresin, R. & Friberg, A. (2013). Evaluation of computer systems for expressive music performance. I Kirke, Alexis; Miranda, Eduardo R. (Red.), Guide to Computing for Expressive Music Performance (s. 181-203). Springer.
[119]
Fabiani, M., Friberg, A. & Bresin, R. (2013). Systems for Interactive Control of Computer Generated Music Performance. I Kirke, A., & Miranda, E. (Red.), Guide to Computing for Expressive Music Performance (s. 49-73). Springer Berlin/Heidelberg.
[120]
Friberg, A., Schoonderwaldt, E. & Hedblad, A. (2011). Perceptual ratings of musical parameters. I von Loesch, H.; Weinzierl, S. (Red.), Gemessene Interpretation - Computergestützte Aufführungsanalyse im Kreuzverhör der Disziplinen (s. 237-253). Mainz: Schott 2011, (Klang und Begriff 4).
[121]
Friberg, A. & Battel, G. U. (2011). Structural Communication. I The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning. Oxford University Press.
[122]
Friberg, A. & Bresin, R. (2008). Real-time control of music performance. I Polotti, Pietro; Rocchesso, Davide (Red.), Sound to Sense - Sense to Sound: A state of the art in Sound and Music Computing (s. 279-302). Berlin: Logos Verlag.
[123]
Goebl, W., Dixon, S., De Poli, G., Friberg, A., Bresin, R. & Widmer, G. (2008). Sense in expressive music performance: Data acquisition, computational studies, and models. I Polotti, Pietro; Rocchesso, Davide (Red.), Sound to Sense - Sense to Sound: A state of the art in Sound and Music Computing (s. 195-242). Berlin: Logos Verlag.
[124]
Juslin, P. N., Friberg, A., Schoonderwaldt, E. & Karlsson, J. (2004). Feedback learning of musical expressivity. I Aaron Williamon (Red.), Musical excellence - Strategies and techniques to enhance performance (s. 247-270). Oxford University Press.
[125]
Friberg, A. & Battel, G. U. (2002). Structural communication. I Parncutt, R.; McPherson, G. E. (Red.), The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning (s. 199-218). New York: Oxford University Press.
[126]
Sundberg, J., Friberg, A. & Frydén, L. (1991). Common Secrets of Musicians and Listeners - An analysis-by-synthesis Study of Musical Performance. I Howell, P.; West, R.; Cross, I. (Red.), Representing Musical Structure (s. 161-197). London: Academic Press.
Övriga
[127]
Icke refereegranskade
Artiklar
[128]
Friberg, A. (2017). Commentary on Polak How short is the shortest metric subdivision?. Empirical Musicology Review, 12(3-4), 227-228.
[129]
Bresin, R., Askenfelt, A., Friberg, A., Hansen, K. & Ternström, S. (2012). Sound and Music Computing at KTH. Trita-TMH, 52(1), 33-35.
[130]
Dahl, S. & Friberg, A. (2004). Expressiveness of a marimba player’s body movements. TMH-QPSR, 46(1), 075-086.
[131]
Friberg, A., Sundberg, J. & Frydén, L. (2000). Motion in music : Sound level envelopes of tones expressing human locomotion. TMH-QPSR, 41(1), 073-082.
[132]
Gleiser, J. E., Friberg, A. & Granqvist, S. (1998). A method for extracting vibrato parameters applied to violin performance. TMH-QPSR, 39(4), 039-044.
[133]
Bresin, R. & Friberg, A. (1998). Emotional expression in music performance : synthesis and decoding. TMH-QPSR, 39(4), 085-094.
[134]
Bresin, R. & Friberg, A. (1997). A multimedia environment for interactive music performance. TMH-QPSR, 38(2-3), 029-032.
[135]
Friberg, A. & Sundström, A. (1997). Preferred swing ratio in jazz as a function of tempo. TMH-QPSR, 38(4), 019-027.
[136]
Friberg, A. & Sundberg, J. (1997). Stopping in running and in music performance Part I. Runners’ decelerations and final ritards. TMH-QPSR, 38(1), 067-073.
[137]
Friberg, A. & Sundberg, J. (1997). Stopping in running and in music performance. Part II. A model of the final ritardando based on runners’ deceleration. TMH-QPSR, 38(2-3), 033-046.
[138]
Friberg, A. (1995). Matching the rule parameters of PHRASE ARCH to performances of "Träumerei" : a preliminary study. STL-QPSR, 36(2-3), 063-070.
[139]
Sundberg, J., Friberg, A. & Frydén, L. (1992). Music and locomotion. a study of the perception of tones with level envelopes replicating force patterns of walking. STL-QPSR, 33(4), 109-122.
[140]
Friberg, A. & Sundberg, J. (1992). Perception of just noticeable time displacement of a tone presented in a. STL-QPSR, 33(4), 097-108.
[141]
Sundberg, J., Frydén, L. & Friberg, A. (1991). Music communication as studied by means of performance. STL-QPSR, 32(1), 065-083.
[142]
Ternström, S. & Friberg, A. (1989). Analysis and simulation of small variations in the fundamental frequency of sustained vowels. STL-QPSR, 30(3), 001-014.
[143]
Friberg, A., Sundberg, J. & Frydén, L. (1989). Preferred quantities of expressive variation in music performance. STL-QPSR, 30(4), 053-062.
[144]
Ternström, S., Friberg, A. & Sundberg, J. (1988). Monteverdi’s vespers. A case study in music synthesis. STL-QPSR, 29(2-3), 093-105.
[145]
Sundberg, J., Friberg, A. & Frydén, L. (1988). Musicians’ and nonmusicians’ sensitivity to differences in music performance. STL-QPSR, 29(4), 077-081.
[146]
Friberg, A., Frydén, L., Bodin, L.-G. & Sundberg, J. (1987). Performance rules for computer controlled performance of contemporary keyboard music. STL-QPSR, 28(4), 079-085.
[147]
Sundberg, J., Friberg, A. & Frydén, L. (1987). Rules for automatized performance of ensemble music. STL-QPSR, 28(4), 057-078.
[148]
Carlson, R., Friberg, A., Frydén, L., Granström, B. & Sundberg, J. (1987). Speech and music performance. Parallels and contrasts. STL-QPSR, 28(4), 007-023.
[149]
Thompson, W. F., Friberg, A., Frydén, L. & Sundberg, J. (1986). Evaluating rules for the synthetic performance of melodies. STL-QPSR, 27(2-3), 027-044.
Konferensbidrag
[150]
Friberg, A. (1995). Matching the rule parameters of Phrase arch to performances of “Träumerei” : A preliminary study. I Proceedings of the KTH symposium on Grammars for music performance May 27,1995. (s. 37-44).
Kapitel i böcker
[151]
Sundberg, J., Frydén, L. & Friberg, A. (1995). Expressive aspects of instrumental and vocal performance. I Steinberg, R. (Red.), Music and the Mind Machine: Psychophysiology and Psychopathology of the Sense of Music. Heidelberg: Springer Berlin/Heidelberg.
Avhandlingar
[152]
Friberg, A. (1995). A Quantitative Rule System for Musical Performance (Doktorsavhandling , KTH Royal Institute of Technology). Hämtad från http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-234689.
Rapporter
[153]
Proceedings (redaktörskap)
[154]
D'Amario, S., Ternström, S., Friberg, A. (Red.). (2023). SMAC 2023 : Proceedings of the Stockholm Music Acoustics Conference 2023. Stockholm: KTH Royal Institute of Technology.
[155]
Friberg, A., Iwarsson, J., Jansson, E., Sundberg, J. (Red.). (1994). Proceedings of the Stockholm Music Acoustics Conference 1993. KTH Royal Institute of Technology.
Övriga
[156]
Friberg, A., Schoonderwaldt, E., Hedblad, A., Fabiani, M., Elowsson, A. (2014). Using perceptually defined music features in music information retrieval. (Manuskript).
[157]
[158]
Zamovaro, A. M., Zatorre, R. J., Vuust, P., Friberg, A., Birbaumer, N., Kleber, B. (). Enhanced insular connectivity with speech sensorimotor regions in trained singers – a resting-state fMRI study. (Manuskript).
[159]
Lindborg, P. M., Friberg, A. K. (). Personality traits influence perception of soundscape quality. (Manuskript).
Senaste synkning med DiVA:
2024-11-17 00:03:44