RHY.10:11 - SoTA-Echoing

Carvalho and colleagues’ Kalman-filter ensemble model separates phase and period correction and permits varying gains. Its reported quartet experiment uses retrospective smoothing with phase correction; it does not establish a generally optimal live controller. Use its formalism when estimating such a mechanism is the actual task, rather than prescribe its parameters to all performers.

Li and colleagues’ 2026 violin study qualifies a uniform adjustment rule: auditory correction depended on the performance conditions, and the predicted general increase towards a recording was not found. Its bounded ensemble task supports inspecting the actual interaction rather than assuming automatic compensation.

Nelson’s Solkattu Manual (2008), printed pp. 15–17, supplies phrase-against-gesture practice. Cha’s Takadimi critique makes omitted duration and unarticulated reference positions explicit. Their contributions support the gap-continuation construction; they establish no universal training duration or one preferred cue for every performer.