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Title
Abstract
FAQs
Figures
Introduction
Related Work
Data Preparation
Summary and Conclusions
References
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Art
Music

New interfaces for popular music performance

Profile image of Roger DannenbergRoger Dannenberg

2007, Proceedings of the 7th international conference on New interfaces for musical expression - NIME '07

https://doi.org/10.1145/1279740.1279764
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Abstract

Augmenting performances of live popular music with computer systems poses many new challenges. Here, "popular music" is taken to mean music with a mostly steady tempo, some improvisational elements, and largely predetermined melodies, harmonies, and other parts. The overall problem is studied by developing a framework consisting of constraints and subproblems that any solution should address. These problems include beat acquisition, beat phase, score location, sound synthesis, data preparation, and adaptation. A prototype system is described that offers a set of solutions to the problems posed by the framework, and future work is suggested.

FAQs

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What are the key challenges in augmenting popular music performances?add

The paper identifies challenges like beat acquisition, score location maintenance, and sound synthesis as critical in augmenting popular music performances. Additionally, adapting to the flexible structure of live performances presents unique issues not found in standardized music formats.

How does the PMA framework address human-computer interaction issues?add

The PMA framework focuses on maintaining low cognitive load on musicians while ensuring reliable communication of beats and score locations. This approach allows musicians to engage fully in performance without becoming overwhelmed by the technology.

What role does computer accompaniment play in popular music according to this research?add

While computer accompaniment systems have been explored, they often fail to adapt to the improvisational nature of popular music. As noted, popular music's reliance on live spontaneity contrasts with the rigid structures of traditional accompaniment.

What technological innovations are proposed for real-time sound synthesis?add

Innovative sound synthesis techniques involve pre-recording trumpet lines and using time-stretching methods to adjust tempo without artifacts. This enables real-time performance without sacrificing sonic quality or requiring click tracks.

What experimental results support the reliability of beat detection in performance?add

Preliminary tests show a standard deviation of 28 ms in beat acquisition under controlled conditions, suggesting quick and reliable synchronization abilities. However, testing with the trumpet simultaneously may affect these results, indicating potential for further research.

Figures (2)
A custom-built pressure-sensitive foot pedal was constructed to enable this form of input. The pedal (see Figure 1) uses a sandwich construction. Two outer panels of thin plywood make the pedal very strong yet slightly flexible. At the center is a force- sensitive resistor. To transfer pressure evenly from the plywood to the FSR and to protect the FSR from being crushed, the FSR is sandwiched between two layers of very thin foam packing material.
A custom-built pressure-sensitive foot pedal was constructed to enable this form of input. The pedal (see Figure 1) uses a sandwich construction. Two outer panels of thin plywood make the pedal very strong yet slightly flexible. At the center is a force- sensitive resistor. To transfer pressure evenly from the plywood to the FSR and to protect the FSR from being crushed, the FSR is sandwiched between two layers of very thin foam packing material.
Additional interaction will be necessary to indicate the score location if sections are not played in the expected sequence. Figure 2 illustrates a planned interface for the laptop computer that will sense pedal input and generate audio output. This is considered as a “backup” or “system override” interface that demands more user attention, but will be rarely used.
Additional interaction will be necessary to indicate the score location if sections are not played in the expected sequence. Figure 2 illustrates a planned interface for the laptop computer that will sense pedal input and generate audio output. This is considered as a “backup” or “system override” interface that demands more user attention, but will be rarely used.

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date-added: 2017-12-22 18:26:58 +0000 date-modified: 2017-12-22 18:38:33 +0000 keywords: mood-based interaction, intelligent music production, HCI local-url: https://qmro.qmul.ac.uk/xmlui/handle/123456789/12502 publisher-url: http://mcl.open.ac.uk/music-chi/uploads/19/HCIMUSIC_2016_paper_15.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/12502/Barthet%20Crossroads%3A%20Interactive%20Music%20Systems%202016%20Accepted.pdf

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References (13)

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