Other technologies have also tried to improve different use cases with the piano, such as composing and performing. In recent years teaching and learning have been enhanced using augmented technologies that support novices. CSC is actively engaged in proposing new paradigms for the preservation of digital art.įor around 300 years, humans have been learning to play the modern piano either with a teacher or on their own. The preservation of this heritage presents problems very different from those posed by traditional artworks.
Several paradigmatic musical works that stated new lines of both musical and scientific research are then presented in detail. Moreover, we discuss a multilevel conceptual framework, which allows multimodal expressive content processing and coordination, which is important in art and music. We discuss input devices for detecting information from gestures or audio signals and rendering systems for audience and user engagement. This paper, for the Sensors Special Issue on 800 Years of Research at Padova University, presents a review of the research in the field of music technologies at Padova University by the Centro di Sonologia Computazionale (CSC), focusing on scientific, technological and musical aspects of interaction between musician and computer and between computer and audience. Music can be seen as a creative form of human–human communication via a computer, and therefore, research on human–computer and computer–human interfaces is very important. With the advent of digital technologies, the computer has become a generalized tool for music production. This paper presents new evidence systematically demonstrating that algorithm generated performances of piano music can be indistinguishable from human performances, suggesting some parallels with the 1990s victory of the Deep Blue computer of the world champion (human) chess player. The themes were labelled (in descending order of frequency) intuitive, expressive, imperfections, halo (global preference) and empathy. Qualitative analysis revealed five broad themes that contribute to judging whether a piece appears to be human.
There were no differences between ratings made by classical piano experts and lay listeners, but despite this, the musicians were more confident with their ratings. The mechanical performance had the lowest mean rating, but the human performance was rated as statistically identical to the other stimuli. Participants rated the extent to which each performance was by a human and explained their answers. via a Disklavier, in a way that cannot be distinguished from a human performance of the same music? One hundred and seventy-two participants with a wide range of music playing backgrounds rated sound recordings of 7 performances of piano music by Kuhlau, one played by a human, and six generated by algorithms, including a ‘mechanical’ and an ‘unmusical’ rendering.
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