Publications by Anders Friberg
Peer reviewed
Articles
[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.
Conference papers
[51]
Gulz, T., Holzapfel, A., Friberg, A. (2019). Developing a Method for Identifying Improvisation Strategies in Jazz Duos. In Proc. of the 14th International Symposium on CMMR. (pp. 482-489). Marseille Cedex.
[52]
Elowsson, A., Friberg, A. (2019). Modeling Music Modality with a Key-Class Invariant Pitch Chroma CNN. In 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. In Proceedings of 16th Sound & Music Computing Conference (SMC), Malaga, Spain. (pp. 530-536).
[54]
Karipidou, K., Ahnlund, J., Friberg, A., Alexanderson, S., Kjellström, H. (2017). Computer Analysis of Sentiment Interpretation in Musical Conducting. In Proceedings - 12th IEEE International Conference on Automatic Face and Gesture Recognition, FG 2017. (pp. 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. In 2017 ICMC/EMW - 43rd International Computer Music Conference and the 6th International Electronic Music Week. (pp. 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. In AES 142nd Convention, Berlin, Germany..
[57]
Lindeberg, T., Friberg, A. (2015). Scale-space theory for auditory signals. In Scale Space and Variational Methods in Computer Vision: 5th International Conference, SSVM 2015, Lège-Cap Ferret, France, May 31 - June 4, 2015, Proceedings. (pp. 3-15). Springer.
[58]
Einarsson, A., Friberg, A. (2015). Using Singing Voice Vibrato as a Control Parameter in a Chamber Oper. In 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. In Proceedings of the AES International Conference. (pp. 288-297).
[60]
Elowsson, A., Schön, R., Höglund, M., Zea, E., Friberg, A. (2014). Estimation of vocal duration in monaural mixtures. In 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. (pp. 1172-1177). National and Kapodistrian University of Athens.
[61]
Masko, J., Fischer Friberg, J., Friberg, A. (2014). Software tools for automatic music performance. In 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. In Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden. (pp. 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. In Proceedings of the Sound and Music Computing Conference 2013. (pp. 19-26).
[64]
Elowsson, A., Friberg, A. (2013). Modelling Perception of Speed in Music Audio. In Proceedings of the Sound and Music Computing Conference 2013. (pp. 735-741).
[65]
Elowsson, A., Friberg, A., Madison, G., Paulin, J. (2013). Modelling the Speed of Music Using Features from Harmonic/Percussive Separated Audio. In Proceedings of the 14th International Society for Music Information Retrieval Conference. (pp. 481-486).
[66]
Elowsson, A., Friberg, A. (2012). Algorithmic Composition of Popular Music. In 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. (pp. 276-285).
[67]
Friberg, A. (2012). Music Listening from an Ecological Perspective. In 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. In Proceedings of the SMC 2011 - 8th Sound and Music Computing Conference. (pp. 122-127).
[69]
Bisesi, E., Parncutt, R., Friberg, A. (2011). An accent-based approach to performance rendering: Music theory meets music psychology. In Proceedings of ISPS 2011. (pp. 27-32). Utrecht: the European Association of Conservatoires (AEC).
[70]
Friberg, A., Källblad, A. (2011). Experiences from video-controlled sound installations. In Proceedings of New Interfaces for Musical Expression - NIME, Oslo, 2011. (pp. 128-131).
[71]
Friberg, A., Bresin, R., Hansen, K. F., Fabiani, M. (2009). Enabling emotional expression and interaction with new expressive interfaces. In 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. In The Neurosciences and Music III. (p. 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. In Proc. of the 11th Int. Conference on Digital Audio Effects (DAFx-08), Espoo, Finland. (pp. 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. Presented at 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. In Proceedings of New Interfaces for Musical Expression (NIME), Genova, 2008. (pp. 128-133).
[76]
Bresin, R., Friberg, A. (2008). Influence of Acoustic Cues on the Expressive Performance of Music. In 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. In COMPUTER MUSIC MODELING AND RETRIEVAL: SENSE OF SOUNDS. (pp. 288-302). BERLIN: SPRINGER-VERLAG.
[78]
Fabiani, M., Friberg, A. (2007). A prototype system for rule-based expressive modifications of audio recordings. In Proc. of the Int. Symp. on Performance Science 2007. (pp. 355-360). Porto, Portugal: AEC (European Conservatories Association).
[79]
Fabiani, M., Friberg, A. (2007). Expressive modifications of musical audio recordings : preliminary results. In Proc. of the 2007 Int. Computer Music Conf. (ICMC07). (pp. 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. In Proc. 9th International Conference on Music Perception & Cognition. (pp. 532-533). Bologna: Bonomia University Press.
[81]
Friberg, A. (2005). A fuzzy analyzer of emotional expression in music performance and body motion. In Proceedings of Music and Music Science, Stockholm 2004..
[82]
Friberg, A. (2005). Home conducting : Control the overall musical expression with gestures. In Proceedings of the 2005 International Computer Music Conference. (pp. 479-482). San Francisco: International Computer Music Association.
[83]
Dahl, S., Friberg, A. (2004). Expressiveness of musician's body movements in performances on marimba. In Gesture-Based Communication in Human-Computer Interaction. (pp. 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. In GESTURE-BASED COMMUNICATION IN HUMAN-COMPUTER INTERACTION. (pp. 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. In Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden. (pp. 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. In Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden. (pp. 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. In Proc of SMAC 2003, Stockholm Music Acoustics Conference. (pp. 521-524).
[88]
Dahl, S., Friberg, A. (2003). What can the body movements reveal about a musician’s emotional intention?. In Proc of SMAC 03, Stockholm Music Acoustics Conference. (pp. 599-602).
[89]
Friberg, A., Schoonderwaldt, E., Juslin, P. N., Bresin, R. (2002). Automatic real-time extraction of musical expression. In Proceedings of the International Computer Music Conference, ICMC 2002. (pp. 365-367).
[90]
Juslin, P. N., Friberg, A., Bresin, R. (2002). Computational modelling of different aspects of expressivity: The GERM model. In Proceedings of ICMPC7 - 7th International Conference on Music Perception & Cognition. (p. 13).
[91]
Bresin, R., Friberg, A., Sundberg, J. (2002). Director musices : The KTH performance rules system. In Proceedings of SIGMUS-46. (pp. 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. In MOSART project workshop on current research directions in computer music..
[93]
Bresin, R., Friberg, A. (2001). Expressive musical icons. In Proceedings of the International Conference on Auditory Display - ICAD 2001. (pp. 141-143).
[94]
Bresin, R., Friberg, A., Dahl, S. (2001). Toward a new model for sound control. In Proceedings of the COST G-6 Conference on Digital Audio Effects (DAFX-01), Limerick, Ireland, December 6-8, 200. (pp. 45-49).
[95]
Schoonderwaldt, E., Friberg, A. (2001). Towards a rule-based model for violin vibrato. In Proc of the Workshop on Current Research Directions in Computer Music. (pp. 61-64).
[96]
Ross, J., Friberg, A. (2000). Generative Performance Rules and Folksong Performance. In 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. In Proceedings of the International Computer Music Conference - ICMC 2000. (pp. 364-367). San Francisco: ICMA.
[98]
Bresin, R., Friberg, A. (2000). Software Tools for Musical Expression. In 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. In Proceedings of the InternationalComputer Music Conference 2000. (pp. 499-502). San Francisco, USA: Computer Music Association.
[100]
Bresin, R., Friberg, A. (1999). Synthesis and decoding of emotionally expressive music performance. In Proceedings of the IEEE 1999 Systems, Man and Cybernetics Conference - SMC’99. (pp. 317-322).
[101]
Bresin, R., Friberg, A. (1997). A multimedia environment for interactive music performance. In Proceedings of KANSEI - The Technology of Emotion, AIMI International Workshop. (pp. 64-67).
[102]
Friberg, A., Frydén, L., Sundberg, J. (1997). A rule for automatic musical punctuation of melodies. In Proc of 3rd Triennial ESCOM Conference. (pp. 719-723).
[103]
Friberg, A., Bresin, R. (1997). Automatic musical punctuation : A rule system and a neural network approach. In Proceedings of KANSEI - The Technology of Emotion, AIMI Intl Workshop. (pp. 159-163).
[104]
Friberg, A., Sundberg, J. (1997). Comparing runners« decelerations and final ritards. In Proc of 3rd Triennial ESCOM Conference. (pp. 582-586).
[105]
Sundberg, J., Friberg, A. (1996). Stopping running and stopping a piece of music. Comparing locomotion and music performance. In Proc of NAM 96, Nordic Acoustical Meeting. (pp. 351-358).
[106]
Friberg, A., Sundberg, J., Frydén, L. (1995). The KTH rules for musical performance : Overview and recent additions. In Proc of 15th Intl Congress on Acoustics (ICA«95). (pp. 431-434).
[107]
Sundberg, J., Frydén, L., Friberg, A. (1994). Expressive aspects of instrumental and sung performance. In 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. In Proceedings of 3rd International Conference for Music Perception and Cognition, Liège 1994. (pp. 339-340).
[109]
Sundberg, J., Friberg, A., Frydén, L. (1994). Music and locomotion. Perception of tones with level envelopes replicating force patterns of walking. In Proc. of SMAC ’93, Stockholm Music Acoustics Conference. (pp. 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. In Proc. of SMAC ’93, Stockholm Music Acoustics Conference. (pp. 39-43).
[111]
Friberg, A., Sundberg, J., Frydén, L. (1994). Recent musical performance research at KTH. In Proceedings of the Aarhus symposium on Generative grammars for music performance 1994. (pp. 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. In Action and Perception of rhythm and music. (pp. 49-55).
[113]
Friberg, A., Sundberg, J. (1987). Using Rules to Control the Musical Performance. In 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. In Proceedings of the International Computer Music Conference 1986. (pp. 1-3).
Chapters in books
[115]
Friberg, A., Bresin, R. & Sundberg, J. (2014). Analysis by synthesis. In Thompson, W. F. (Ed.), Music in the Social and Behavioral Sciences. Los Angeles: Sage Publications.
[116]
Friberg, A., Bresin, R. & Sundberg, J. (2014). Expressive timing. In Thompson, W. F. (Ed.), Music in the Social and Behavioral Sciences (pp. 440-442). Los Angeles: Sage Publications.
[117]
Friberg, A. & Bisesi, E. (2014). Using computational models of music performance to model stylistic variations. In Fabian, D.; Timmers, R.; Schubert, E. (Ed.), Expressiveness in music performance: Empirical approaches across styles and cultures (pp. 240-259). Oxford University Press.
[118]
Bresin, R. & Friberg, A. (2013). Evaluation of computer systems for expressive music performance. In Kirke, Alexis; Miranda, Eduardo R. (Ed.), Guide to Computing for Expressive Music Performance (pp. 181-203). Springer.
[119]
Fabiani, M., Friberg, A. & Bresin, R. (2013). Systems for Interactive Control of Computer Generated Music Performance. In Kirke, A., & Miranda, E. (Ed.), Guide to Computing for Expressive Music Performance (pp. 49-73). Springer Berlin/Heidelberg.
[120]
Friberg, A., Schoonderwaldt, E. & Hedblad, A. (2011). Perceptual ratings of musical parameters. In von Loesch, H.; Weinzierl, S. (Ed.), Gemessene Interpretation - Computergestützte Aufführungsanalyse im Kreuzverhör der Disziplinen (pp. 237-253). Mainz: Schott 2011, (Klang und Begriff 4).
[121]
Friberg, A. & Battel, G. U. (2011). Structural Communication. In 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. In Polotti, Pietro; Rocchesso, Davide (Ed.), Sound to Sense - Sense to Sound: A state of the art in Sound and Music Computing (pp. 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. In Polotti, Pietro; Rocchesso, Davide (Ed.), Sound to Sense - Sense to Sound: A state of the art in Sound and Music Computing (pp. 195-242). Berlin: Logos Verlag.
[124]
Juslin, P. N., Friberg, A., Schoonderwaldt, E. & Karlsson, J. (2004). Feedback learning of musical expressivity. In Aaron Williamon (Ed.), Musical excellence - Strategies and techniques to enhance performance (pp. 247-270). Oxford University Press.
[125]
Friberg, A. & Battel, G. U. (2002). Structural communication. In Parncutt, R.; McPherson, G. E. (Ed.), The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning (pp. 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. In Howell, P.; West, R.; Cross, I. (Ed.), Representing Musical Structure (pp. 161-197). London: Academic Press.
Other
[127]
Non-peer reviewed
Articles
[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.
Conference papers
[150]
Friberg, A. (1995). Matching the rule parameters of Phrase arch to performances of “Träumerei” : A preliminary study. In Proceedings of the KTH symposium on Grammars for music performance May 27,1995. (pp. 37-44).
Chapters in books
[151]
Sundberg, J., Frydén, L. & Friberg, A. (1995). Expressive aspects of instrumental and vocal performance. In Steinberg, R. (Ed.), Music and the Mind Machine: Psychophysiology and Psychopathology of the Sense of Music. Heidelberg: Springer Berlin/Heidelberg.
Theses
[152]
Friberg, A. (1995). A Quantitative Rule System for Musical Performance (Doctoral thesis , KTH Royal Institute of Technology). Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-234689.
Reports
[153]
Conference Proceedings
[154]
D'Amario, S., Ternström, S., Friberg, A. (Eds.). (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. (Eds.). (1994). Proceedings of the Stockholm Music Acoustics Conference 1993. KTH Royal Institute of Technology.
Other
[156]
Friberg, A., Schoonderwaldt, E., Hedblad, A., Fabiani, M., Elowsson, A. (2014). Using perceptually defined music features in music information retrieval. (Manuscript).
[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. (Manuscript).
[159]
Lindborg, P. M., Friberg, A. K. (). Personality traits influence perception of soundscape quality. (Manuscript).
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