在音樂呈現上，演奏家的演繹方式是一個很重要的因素。舉例來說，演奏者會根據不同的譜面，調整拍速、音量、抖音等。而每位演奏家的個性及想法不盡相同，即使是演奏同一份樂譜也會有各種不同的呈現方法。
在本研究中，我們分析了兩位小提琴大師Jascha Heifetz 和 David Fyodorovich Oistrakh的演奏特徵，並找¬出兩人在演奏風格上的不同。為了研究其風格差異，我們針對兩人都有演奏過的作品，收集了一個新的小提琴協奏曲資料庫，並標記了音符位置、圓滑奏位置、拍速等資訊。我們從資料庫中選出了26個片段，研究演繹方式的要素如:音符間隔(音長、緊湊度)、能量以及抖音等資訊。而我們在重音和圓滑奏的部分發現了兩位小提琴家的明顯區別。
此外，我們初步歸納出合成的規則，並將找到的特徵套用至小提琴演奏合成上。合成內容包含了原本就在資料庫內的曲目，以及資料庫以外的曲目。本研究就我們所知，是第一個嘗試針對小提琴家之演奏風格進行分析以及重新合成的研究。
我們的未來的工作是找出音樂家演奏風格的語法。藉由對小提琴家們的表演進行量化分析，我們得以將抽象的”演奏風格”轉換為一個可以精確描述音樂家的具體規則，甚至可以藉由我們分析的文法來合成出已故名小提琴演奏家的演奏風格的作品供世人欣賞，即使他/她生前從未演奏過該曲目。

One of the most important factors of an expressive music performance is the interpretation by professional musicians. For example, musicians may adjust the interpretation factors such as tempo, dynamics, vibrato, etc., based on the information of a specific music score. A performer has his/her distinct personality and belief, resulting in different expressions even with regard to the same music piece.
In this study, we analyze the characteristics of two outstanding violinists, Jascha Heifetz and David Fyodorovich Oistrakh, and find out the difference between their style. To focus on the comparison of violin playing style between them, we compile a new dataset which includes the violin concertos that were performed and recorded by both violinists, and annotate the information such as onset, offset, legato, accent, etc. We study the interpretational factors including articulation (DR and KOT), energy and vibrato on 26 excerpts from the dataset. We analyze the features of accents and legato groups and gain insight into the distinct difference between the two performers.
Moreover, based on the above analysis results we generalize the synthesis rules, and apply the features we found to expressive violin synthesis. The synthesis works include the excerpts from dataset, and the excerpts out of dataset. To our knowledge, this study has been the first attempt to analyze and synthesize the playing styles of master violinists.
The future work is to generalize a grammar of playing styles of musicians. With the quantitative analysis of these violinists’ performances, we are able to convert the abstract concept of “playing style” to specific rules to describe a musician, or even can synthesize the performance of late musicians based on the grammar we analyzed, even though he/she had never recorded the piece of music.

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