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Analysis by synthesis is a scientific method by which one attempts to understand (or analyze) a phenomenon by reconstructing (or synthesizing) the phenomenon, often in a computer simulation. It involves an iterative process in which attempts to synthesize the phenomenon are repeatedly assessed and refined in an iterative manner. As an example, expressive music performance, when subjected to analysis by synthesis, may be simulated in a computational model that takes a notated score as input and produces an audible expressive performance as the output. The procedure is as follows: (1) use the model to generate an output, (2) evaluate this output, for example, by listening, (3) try to optimize the model accordingly (see Figure 1). Thus, in its basic form the method is very simple but it does not in itself provide much scientific validity as long as it is only the researcher who is evaluating the result. A listening test with a group of competent and independent listeners is required, or, alternatively, a comparison with real data.

Figure 1Analysis by synthesis procedure.

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Modeling in Scientific Research

Modeling is an important tool for verifying and estimating how well a theory explains a certain phenomenon. It often provides immediate intuitive feedback just by listening to the resulting audio or by comparing the spectrograms of the output with a real example. Thus, it is often easy to qualitatively evaluate if the theory is capturing the essential elements of a phenomenon.

In fact, modeling is a convenient method for investigating the perceptual influence of individual sound parameters. For example, using a model for music performance, the individual effect of timing and dynamics variations can be estimated by varying these two parameters independently in a listening experiment. In most practical cases this cannot be obtained using real-world data, such as audio recordings of different music examples. The reason is that in such recordings, a number of parameters typically exhibit a strong covariation. For example, the tempo might covariate with dynamics since they both contribute to perceived energy, or pitch might covariate with dynamics since it is difficult to produce high pitches with soft dynamics on many instruments. This means that in practical work modeling is a good way of determining the effect of a certain parameter in isolation.

A drawback using a modeling approach is that all details of the algorithm need to be specified. A research-based computational model should be based on previous findings. However, all required details have seldom been investigated in previous research. Therefore, there is also a certain ad hoc element built into any model. Although a few of these can be evaluated, it is seldom possible to independently assess all parameters of a model.

Another use of models is obviously in applied research and in commercial settings when there is a need to use the models for specific applications, such as speech or singing synthesis, or synthesis of various musical instruments' sounds or music generation in computer games.

Evaluation

Testing the validity of a computational model can be a rather complex task. The number of parameters is often high, implying that each parameter cannot for practical reasons be evaluated independently. Therefore, only details that clearly affect the final outcome might be evaluated.

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