Issues and techniques for collaborative music making on multi-touch surfaces

A range of systems exist for collaborative music making on multi-touch surfaces. Some of them have been highly successful, but currently there is no systematic way of designing them, to maximise collaboration for a particular user group. We are particularly interested in systems that will engage novices and experts. We designed a simple application in an initial attempt to clearly analyse some of the issues. Our application allows groups of users to express themselves in collaborative music making using pre-composed materials. User studies were video recorded and analysed using two techniques derived from Grounded Theory and Content Analysis. A questionnaire was also conducted and evaluated. Findings suggest that the application affords engaging interaction. Enhancements for collaborative music making on multi-touch surfaces are discussed. Finally, future work on the prototype is proposed to maximise engagement

Collecting ground truth annotations for drum detection in polyphonic music

In order to train and test algorithms that can automatically detect drum events in polyphonic music, ground truth data is needed. This paper describes a setup used for gathering manual annotations for 49 real-world music fragments containing different drum event types. Apart from the drum events, the beat was also annotated. The annotators were experienced drummers or percussionists. This paper is primarily aimed towards other drum detection researchers, but might also be of interest to others dealing with automatic music analysis, manual annotation and data gathering. Its purpose is threefold: providing annotation data for algorithm training and evaluation, describing a practical way of setting up a drum annotation task, and reporting issues that came up during the annotation sessions while at the same time providing some thoughts on important points that could be taken into account when setting up similar tasks in the future

PC-based aviation training devices (PCATDs): research, development and certification

This paper examines the development of two PCATD’s (one helicopter, one fixed-wing) and their eventual certification by CAA. Certification has demonstrated the potential these devices have for aviation training in New Zealand. Traditionally FTD‘s and PCATD’s have been sourced from foreign companies, and they represent a considerable financial investment for large flying training organisations. The procurement of these simulator types is generally beyond the financial resources of most small to medium sized flying schools. Aviation training in NZ is facing significant financial constraints as well as an increasing demand to simulate complex glass cockpit systems that are now installed in most new General Aviation (GA) aircraft. The development, utilisation and certification of this type of PCATD technology could solve these difficult challenges

Hydraulophone design considerations : absement, displacement, and velocity-sensitive music keyboard in which each key is a water jet

We present a musical keyboard that is not only velocity-sensitive, but in fact responds to absement (presement), displacement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of displacement). Moreover, unlike a piano keyboard in which the keys reach a point of maximal displacement, our keys are essentially infinite in length, and thus never reach an end to their key travel. Our infinite length keys are achieved by using water jet streams that continue to flow past the fingers of a person playing the instrument. The instrument takes the form of a pipe with a row of holes, in which water flows out of each hole, while a user is invited to play the instrument by interfering with the flow of water coming out of the holes. The instrument resembles a large flute, but, unlike a flute, there is no complicated fingering pattern. Instead, each hole (each water jet) corresponds to one note (as with a piano or pipe organ). Therefore, unlike a flute, chords can be played by blocking more than one water jet hole at the same time. Because each note corresponds to only one hole, different fingers of the musician can be inserted into, onto, around, or near several of the instrument’s many water jet holes, in a variety of different ways, resulting in an ability to independently control the way in which each note in a chord sounds. Thus the hydraulophone combines the intricate embouchure control of woodwind instruments with the polyphony of keyboard instruments. Various forms of our instrument include totally acoustic, totally electronic, as well as hybrid instruments that are acoustic but also include an interface to a multimedia computer to produce a mixture of sounds that are produced by the acoustic properties of water screeching through orific plates, as well as synthesized sounds

Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments

This is the peer reviewed version of the following article: Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments, which has been published in final form at http://dx.doi.org/10.1162/COMJ_a_00297. This article may be used for non-commercial purposes in accordance with MIT Press Journal's Terms and Conditions for Self-Archiving. © 2015, MIT Press Journal

Detection of keyboard vibrations and effects on perceived piano quality

Two experiments were conducted on an upright and a grand piano, both either producing string vibrations or conversely being silent after the initial keypress, while pianists were listening to the feedback from a synthesizer through insulating headphones. In a quality experiment, participants unaware of the silent mode were asked to play freely and then rate the instrument according to a set of attributes and general preference. Participants preferred the vibrating over the silent setup, and preference ratings were associated to auditory attributes of richness and naturalness in the low and middle ranges. Another experiment on the same setup measured the detection of vibrations at the keyboard, while pianists played notes and chords of varying dynamics and duration. Sensitivity to string vibrations was highest in the lowest register and gradually decreased up to note D5. After the percussive transient, the tactile stimuli exhibited spectral peaks of acceleration whose perceptibility was demonstrated by tests conducted in active touch conditions. The two experiments confirm that piano performers perceive vibratory cues of strings mediated by spectral and spatial summations occurring in the Pacinian system in their fingertips, and suggest that such cues play a role in the evaluation of quality of the musical instrument