Piano Pedaller: A Measurement System for Classification and Visualisation of Piano Pedalling Techniques

date-added: 2017-12-22 18:53:42 +0000 date-modified: 2017-12-22 19:03:05 +0000 keywords: piano gesture recognition, optical sensor, real-time data acquisition, bela, music informatics local-url: https://pdfs.semanticscholar.org/fd00/fcfba2f41a3f182d2000ca4c05fb2b01c475.pdf publisher-url: http://homes.create.aau.dk/dano/nime17/ bdsk-url-1: http://www.nime.org/proceedings/2017/nime2017_paper0062.pdfdate-added: 2017-12-22 18:53:42 +0000 date-modified: 2017-12-22 19:03:05 +0000 keywords: piano gesture recognition, optical sensor, real-time data acquisition, bela, music informatics local-url: https://pdfs.semanticscholar.org/fd00/fcfba2f41a3f182d2000ca4c05fb2b01c475.pdf publisher-url: http://homes.create.aau.dk/dano/nime17/ bdsk-url-1: http://www.nime.org/proceedings/2017/nime2017_paper0062.pdfdate-added: 2017-12-22 18:53:42 +0000 date-modified: 2017-12-22 19:03:05 +0000 keywords: piano gesture recognition, optical sensor, real-time data acquisition, bela, music informatics local-url: https://pdfs.semanticscholar.org/fd00/fcfba2f41a3f182d2000ca4c05fb2b01c475.pdf publisher-url: http://homes.create.aau.dk/dano/nime17/ bdsk-url-1: http://www.nime.org/proceedings/2017/nime2017_paper0062.pdfdate-added: 2017-12-22 18:53:42 +0000 date-modified: 2017-12-22 19:03:05 +0000 keywords: piano gesture recognition, optical sensor, real-time data acquisition, bela, music informatics local-url: https://pdfs.semanticscholar.org/fd00/fcfba2f41a3f182d2000ca4c05fb2b01c475.pdf publisher-url: http://homes.create.aau.dk/dano/nime17/ bdsk-url-1: http://www.nime.org/proceedings/2017/nime2017_paper0062.pdfdate-added: 2017-12-22 18:53:42 +0000 date-modified: 2017-12-22 19:03:05 +0000 keywords: piano gesture recognition, optical sensor, real-time data acquisition, bela, music informatics local-url: https://pdfs.semanticscholar.org/fd00/fcfba2f41a3f182d2000ca4c05fb2b01c475.pdf publisher-url: http://homes.create.aau.dk/dano/nime17/ bdsk-url-1: http://www.nime.org/proceedings/2017/nime2017_paper0062.pdfThis paper presents the results of a study of piano pedalling techniques on the sustain pedal using a newly designed measurement system named Piano Pedaller. The system is comprised of an optical sensor mounted in the piano pedal bearing block and an embedded platform for recording audio and sensor data. This enables recording the pedalling gesture of real players and the piano sound under normal playing conditions. Using the gesture data collected from the system, the task of classifying these data by pedalling technique was undertaken using a Support Vector Machine (SVM). Results can be visualised in an audio based score following application to show pedalling together with the player’s position in the score

Integrating optical finger motion tracking with surface touch events

This paper presents a method of integrating two contrasting sensor systems for studying human interaction with a mechanical system, using piano performance as the case study. Piano technique requires both precise small-scale motion of fingers on the key surfaces and planned large-scale movement of the hands and arms. Where studies of performance often focus on one of these scales in isolation, this paper investigates the relationship between them. Two sensor systems were installed on an acoustic grand piano: a monocular high-speed camera tracking the position of painted markers on the hands, and capacitive touch sensors attach to the key surfaces which measure the location of finger-key contacts. This paper highlights a method of fusing the data from these systems, including temporal and spatial alignment, segmentation into notes and automatic fingering annotation. Three case studies demonstrate the utility of the multi-sensor data: analysis of finger flexion or extension based on touch and camera marker location, timing analysis of finger-key contact preceding and following key presses, and characterization of individual finger movements in the transitions between successive key presses. Piano performance is the focus of this paper, but the sensor method could equally apply to other fine motor control scenarios, with applications to human-computer interaction

Toy pianos, poor tools: virtuosity and imagination in a limited context

The toy piano is fast becoming a concert instrument in its own right, with its own (growing) body of repertoire that has moved well beyond John Cage’s 1948 classic Suite for Toy Piano. There are dedicated musicians specialising in toy piano performance all over the world, and numerous composers producing new works written specifically for the toy piano. This unusual miniature instrument provides a respite from the traditional implications of the grand piano, breaks the ice with audiences and allows pianists to perform in locations that would otherwise be inaccessible. In this article the author introduces the history and mechanism of the instrument, performance considerations, extended techniques and approaches to working with electronics, recent repertoire and suggestions for performers and composers. Discussion is supplemented with musical examples

Beyond key velocity: Continuous sensing for expressive control on the Hammond Organ and Digital keyboards

In this thesis we seek to explore the potential for continuous key position to be used as an expressive control in keyboard musical instruments, and how preexisting skills can be adapted to leverage this additional control. Interaction between performer and sound generation on a keyboard instrument is often restricted to a number of discrete events on the keys themselves (notes onsets and offsets), while complementary continuous control is provided via additional interfaces, such as pedals, modulation wheels and knobs. The rich vocabulary of gestures that skilled performers can achieve on the keyboard is therefore often simplified to a single, discrete velocity measurement. A limited number of acoustical and electromechanical keyboard instruments do, however, present affordances of continuous key control, so that the role of the key is not limited to delivering discrete events, but its instantaneous position is, to a certain extent, an element of expressive control. Recent evolutions in sensing technologies allow to leverage continuous key position as an expressive element in the sound generation of digital keyboard musical instruments. We start by exploring the expression available on the keys of the Hammond organ, where nine contacts are closed at different points of the key throw for each key onset and we find that the velocity and the percussiveness of the touch affect the way the contacts close and bounce, producing audible differences in the onset transient of each note. We develop an embedded hardware and software environment for low-latency sound generation controlled by continuous key position, which we use to create two digital keyboard instruments. The first of these emulates the sound of a Hammond and can be controlled with continuous key position, so that it allows for arbitrary mapping between the key position and the nine virtual contacts of the digital sound generator. A study with 10 musicians shows that, when exploring the instrument on their own, the players can appreciate the differences between different settings and tend to develop a personal preference for one of them. In the second instrument, continuous key position is the fundamental means of expression: percussiveness, key position and multi-key gestures control the parameters of a physical model of a flute. In a study with 6 professional musicians playing this instrument we gather insights on the adaptation process, the limitations of the interface and the transferability of traditional keyboard playing techniques

A PERFORMER’S GUIDE TO NORMAN BOLTER’S MORNING WALK FOR TROMBONE AND PIANO

For the past 45 years, Norman Bolter has been one of the most prolific and important composers, performers, and educators for the trombone. Born in Minnesota in 1955, Bolter held the position of Second Trombone of the Boston Symphony Orchestra and Principal Trombone of the Boston Pops from 1975 until 2009. He has taught at leading conservatories, universities, and festivals around the world and continues to teach as trombone faculty at the New England Conservatory and the Boston Conservatory today. His compositional output is large and wide-ranged, including works for solo trombone, trombone and piano, trombone ensemble, chamber ensemble, band, orchestra, and more. Norman Bolter has composed over 300 works which feature the trombone, the largest number of works for the instrument by any composer in history. In 2002, Norman Bolter was approached by R. Douglas Wright, principal trombone of the Minnesota Orchestra to compose two works for trombone and piano to be used in the final round of the Zellmer Trombone Competition held biennially in Minneapolis, Minnesota. The resulting work for tenor trombone and piano, Morning Walk, continues to be used in each occurrence of the Zellmer Trombone Competition and has also become a commonly performed work by professional trombonists and advanced students in recital settings. Morning Walk is a musical ‘portrait’ of the composer’s former trombone teacher and the namesake for the trombone competition, Steven Zellmer. The work presents a wide range of technical challenges to the trombone player. Morning Walk rapidly progresses through many musical styles, as the composer attempts to capture the multi-faceted life, interests, and personality of Steven Zellmer. The composer uses many themes and motifs that appear throughout the work, as well as quotations from various other musical materials including etudes and orchestral literature. With this document, the performer is provided an in-depth analysis of Norman Bolter\u27s musical vignette of Steven Zellmer. Through the work’s Living Story within the Program Notes and by interviewing the composer, the rich programmatic musical material used throughout Morning Walk will be defined. Instances of musical quotation throughout the work will be identified, and suggestions to overcome the significant technical demands of the composition’s trombone part will be provided. An in-depth exploration into Norman Bolter\u27s Morning Walk for trombone and piano will be a valuable resource for participants in the Zellmer Trombone Competition, for solo performances of the work, and to those who are becoming acquainted with the trombone compositions of Norman Bolter

Data Driven Analysis of Tiny Touchscreen Performance with MicroJam

The widespread adoption of mobile devices, such as smartphones and tablets, has made touchscreens a common interface for musical performance. New mobile musical instruments have been designed that embrace collaborative creation and that explore the affordances of mobile devices, as well as their constraints. While these have been investigated from design and user experience perspectives, there is little examination of the performers' musical outputs. In this work, we introduce a constrained touchscreen performance app, MicroJam, designed to enable collaboration between performers, and engage in a novel data-driven analysis of more than 1600 performances using the app. MicroJam constrains performances to five seconds, and emphasises frequent and casual music making through a social media-inspired interface. Performers collaborate by replying to performances, adding new musical layers that are played back at the same time. Our analysis shows that users tend to focus on the centre and diagonals of the touchscreen area, and tend to swirl or swipe rather than tap. We also observe that while long swipes dominate the visual appearance of performances, the majority of interactions are short with limited expressive possibilities. Our findings are summarised into a set of design recommendations for MicroJam and other touchscreen apps for social musical interaction

The Rise Of The Chinese Concerto: A Look Into The Developments Of Chinese Traditional Instrument Concerti With Western Orchestra

The mixing of musical traditions between cultures, philosophies, and religions has been a crucial element of music for centuries. However, a marked rise over the last century has seen rapid development of specific East/West fusions that have become known as “fusion concertos.” These fusions combine Eastern and Western compositional techniques as well as Eastern and Western instruments to create new and interesting works for a multitude of ensembles. This research takes two early examples written by Chinese composers, the worldfamous works Butterfly Lovers Violin Concerto and Yellow River Piano Concerto, and analyzes them regarding form, melodic content, harmonic content, and instrumental considerations. This analysis is then compared to three newer works written by wellknown composers Ma Shui-long, Tan Dun, and Bright Sheng. Through this process, key factors will be identified that highlight the fusions between Eastern and Western ideas. Analysis of these traits identifies what makes these compositional hybrids successful regarding the compositional traits listed above and explores important cultural factors that shape the work\u27s narrative. It is my hope that, through this research, more scholars, researchers, and performers become aware of the fundamental techniques that make these works successful and endeavor to continue advancing this exciting and influential genre to a continually wider audience

A Study of the Solo Piano Works by Owen Middleton (b. 1941) With a Recording of Selected Works from 1962-1993

abstract: Owen Middleton (b. 1941) enjoys an established and growing reputation as a composer of classical guitar music, but his works for piano are comparatively little known. The close investigation offered here of Middleton's works for piano reveals the same impressive craftsmanship, compelling character, and innovative spirit found in his works for guitar. Indeed, the only significant thing Middleton's piano music currently lacks is the well-deserved attention of professional players and a wider audience. Middleton's piano music needs to be heard, not just discussed, so one of this document's purposes is to provide a recorded sample of his piano works. While the overall repertoire for solo piano is vast, and new works become established in that repertoire with increasing difficulty, Middleton's piano works have a significant potential to find their way into the concert hall as well as the private teaching studio. His solo piano music is highly effective, well suited to the instrument, and, perhaps most importantly, fresh sounding and truly original. His pedagogical works are of equal value. Middleton's piano music offers something for everyone: there one finds daring virtuosity, effusions of passion, intellectual force, colorful imagery, poetry, humor, and even a degree of idiomatic innovation. This study aims to reveal key aspects of the composer's musical style, especially his style of piano writing, and to provide pianists with helpful analytical, technical, and interpretive insights. These descriptions of the music are supported with recorded examples, selected from the works for solo piano written between 1962 and 1993: Sonata for Piano, Childhood Scenes, Katie's Collection, and Toccata for Piano. The complete scores of the recorded works are included in the appendix. A chapter briefly describing the piano pieces since 1993 concludes the study and invites the reader to further investigations of this unique and important body of work.Dissertation/ThesisD.M.A. Music 201

Strategies in the formation of piano technique in elementary-level piano students: An exploration of teaching elementary-level technical concepts according to authors and teachers from 1925 to the present.

In spite of the hundreds of books and articles written on the subject of piano technique throughout the 20th century, no consensus has been reached concerning the materials and procedures that should be used to teach basic concepts of piano technique.It is hoped that results of this study will provide all piano teachers with a clearer understanding of how to teach elementary level technique and that this may result in greater excellence in piano teaching and an increase in technical proficiency in young pianists in the United States.The purpose of this qualitative research study was two-fold: first, to analyze what influential writers of the past and present wrote regarding the teaching of elementary level technical concepts; second, to discover what strategies, methods, and materials excellent teachers of 5- to 11-year-old elementary level piano students use to develop a solid technical foundation that will prepare their young students to be capable of playing advanced works from the piano literature once they reach the high school and college levels.To accomplish this purpose, the technical systems of three source groups were analyzed to present three different perspectives on teaching elementary level piano technique to children. First, the writings of fifteen influential authors from 1925 to the present, designated Technique Authors, were studied. Second, writings by the authors of piano method series of the 20th century and current books and articles related to teaching piano technique to children were analyzed. This source group was designated Pedagogical Authors. Third, four Exemplary Teachers were interviewed and observed by the principal investigator to discover how teachers work with students in the private lesson to achieve excellent technical results. The technical systems of these three source groups were then compared to yield 107 Technical Principles that formed the basis for a grounded theory relating to teaching elementary level piano technique to children.Among the most interesting findings are the ideas of the seriousness of intent behind teaching every child, the importance of a knowledgeable teacher in the early years of piano lessons, and the importance of separating the instruction of technique from that of music reading by utilizing rote teaching. In terms of specific technical procedures, all the sources agreed in the importance of coordinating all parts of the playing apparatus from the beginning of study, which is done most effectively by teaching arm movements before finger movements