Conclusions

• Sources of expression may be found outside the score's abstract musical structure, in the ideologies of performance practice, in attempts toconvey emotional or conceptual content, in the desire to challenge accepted norms of performance, or on a more mundane level, in attempts to deal with a particular performance circumstances, such as coping with a particularly reverberant performance space or unfamiliar instrument.
• Although the algorithm may communicate alternative grouping structures for the same melody extremely well and sometimes better than skilled performers, such communicative performances are not necessarily the most aesthetically pleasing.
• One obvious limitations of this research, is the limited interest paid to information outside the score, whether seen as musical knowledge or information available from performer's surroundings.
• Moreover, acoustics of the instrument should be known
• Historic performances with an instrument
• Style
• Structure aspects of performance: Phrasing and meter.
• How sound is synthesisized
• Muscular tension
• Perception of expression
• Statistics of good and bad performances
• Musical expression needs to be parameterized in some cases.
• Go to concerts or jam session to analyze performance of an instrument a group, and a style.
• In some cases expression might be linear and deterministic.