Log in

Relevant bibliographies by topics / Player piano music

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Player piano music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Player piano music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Player piano music"

1

Tilbury, John. "Confessions of a piano-player." Contemporary Music Review 15, no. 3-4 (1996): 111–13. http://dx.doi.org/10.1080/07494469600640591.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Silva, João. "Mechanical instruments and everyday life: the player piano in Portugal." Popular Music 40, no. 1 (2021): 58–74. http://dx.doi.org/10.1017/s026114302100012x.

Full text

Abstract:

AbstractThis paper examines player pianos in Portugal between the 1890s and the 1930s. In a small European country with few production facilities, mechanical music developed in a particular way since a local recording industry was expanding rapidly and radio was not yet disseminated. Despite the local market's reliance on imported goods, the music business concentrated on Portuguese pieces. The mechanisation of the piano and its display as a product that embodied modernity illustrates the transformations that took place in Portugal at the beginning of the 20th century. These were reflected in new forms of entertainment, such as cinemas and nightclubs that incorporated new music genres. At the dawn of the century, the leisure market relied on the popular music theatre, which was dominated by Portuguese, French and Spanish music. In the interwar period, English and American pieces made their way into people's lives, transforming the music business.

APA, Harvard, Vancouver, ISO, and other styles

3

Liu, Xueying. "Research on Piano Performance Optimization Based on Big Data and BP Neural Network Technology." Computational Intelligence and Neuroscience 2022 (February 22, 2022): 1–10. http://dx.doi.org/10.1155/2022/1268303.

Full text

Abstract:

At present, there are many chess styles in piano education, but there is a lack of comprehensive, scientific, and guiding teaching mode. It highlights many educational problems and cannot meet the development requirements of piano education at this stage. However, the piano scoring system can partially replace teachers’ guidance to piano players. This paper extracts the signal characteristics of playing music, establishes the piano performance scoring model using Big Data and BP neural network technology, and selects famous works to test the effect of the scoring system. The results show that the model can test whether the piano works fairly. It can effectively evaluate the player’s performance level and accurately score each piece of music. This not only provides a reference for the player to improve the music level but also provides a new idea for the research results and the application of new technology in music teaching. This paper puts forward reasonable solutions to the problems existing in piano education at the present stage, which is helpful to cultivate high-quality piano talents. Experiments show that the application of Big Data technology and BP neural network to optimize the piano performance scoring system is effective and can score piano music accurately. This paper studies the performance scoring system and gets the model after training, which can replace music teachers and alleviate the shortage of music teachers in the market.

APA, Harvard, Vancouver, ISO, and other styles

4

Emelianoff, Laura. "The Transfigured Instrument: Player Piano." Leonardo Music Journal 17 (December 2007): 48–49. http://dx.doi.org/10.1162/lmj.2007.17.48.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Janosy, Zoltan. "Computer Analysis of Player Piano Rolls." Computer Music Journal 18, no. 3 (1994): 9. http://dx.doi.org/10.2307/3681176.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.

Full text

Abstract:

Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.

APA, Harvard, Vancouver, ISO, and other styles

7

Tan, Jin Jack, Jiun Cai Ong, Kin Keong Chan, Kam Hing How, and Jee Hou Ho. "Development of a Portable Automated Piano Player CantaPlayer." Applied Mechanics and Materials 284-287 (January 2013): 2037–43. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.2037.

Full text

Abstract:

This paper describes the development of a low cost, compact and portable automated piano player CantaPlayer. The system accepts digital MIDI (Musical Instrument Digital Interface) files as input and develops pushing actions against piano keys which in turn produces sounds of notes. CantaPlayer uses Pure Data, an audio processing software to parse MIDI files and serve as user interfaces. The parsed information will be sent to Arduino, an open source microcontroller platform, via serial communication. The Arduino I/O pins will be triggered based on the information from Pure Data of which connected transistors will be activated, acting as a switch to draw in larger power supply to power the solenoids. The solenoids will then push the respective piano keys and produce music. The performance of CantaPlayer is evaluated by examining the synchronousness of the note playing sequence for a source MIDI and the corresponding reproduced MIDI. Three types of MIDI playing sequence (scale, polyphonic and rapid note switching) were tested and the results were satisfactory.

APA, Harvard, Vancouver, ISO, and other styles

8

Grant, John R., Ginny Billings, and Bob Billings. "The Billings Rollography: Player Piano Music from 1917 to 1934." Notes 49, no. 1 (1992): 173. http://dx.doi.org/10.2307/897250.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

BERKOWITZ, AARON. "Experimental Actions, the Outcomes of Which Are Foreseen: Experiment and Tradition in Conlon Nancarrow's Studies nos 21 and 36 for Player Piano." Twentieth-Century Music 5, no. 2 (2008): 195–217. http://dx.doi.org/10.1017/s1478572209990053.

Full text

Abstract:

AbstractConlon Nancarrow is often classified as an ‘experimental’ composer. Definitions of experimentalism in twentieth-century music, however, vary widely, from general ones simply requiring the invention of new compositional techniques to some of John Cage's more specific definitions, which advocate indeterminacy. Nancarrow's music, pioneering in its use of the player piano and its exploration of rhythm and tempo, easily fulfils the criteria for experimentalism in a general sense, yet is by no means indeterminate. Nancarrow does not set up experiments and let them take their course, but rather carefully crafts his compositions, drawing on more traditional techniques of motivic development, counterpoint, and formal planning. Through analyses of Nancarrow's Studies nos 21 and 36 for player piano, I shall suggest that it is through the interaction of experiment and tradition that Nancarrow highlights the perceptibility of what is most experimental in his music: the highly novel approaches to the structuring of musical time.

APA, Harvard, Vancouver, ISO, and other styles

10

Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.

Full text

Abstract:

Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the left and right of the conductor, whilst the first horn player sits apart from his colleagues and is mirrored by a fourth, offstage, horn player.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Player piano music"

1

Milloway, Shawn. "Cathode Green: For Laptop Ensemble, Player Piano, and Fixed Electronics." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592170249875699.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bowdery, Francis T. "Music for player piano : a study of seventeen selected examples." Thesis, Loughborough University, 1995. https://dspace.lboro.ac.uk/2134/6989.

Full text

Abstract:

From virtually the beginning of the twentieth century, musicians were sufficiently intrigued by the possibilities of the player piano to compose and specially arrange music for it. The aesthetic of 'automatic music' reaches back at least as far as JS Bach and forward to Conlon Nancarrow and Georgy Ligeti, as well as in developments in electronic popular and art music. This thesis makes a case study of seventeen compositions, arrangements and fragments from the period of the instrument's greatest commercial success, 1900-1927, including music by Bax, Busoni, Casella, Hans Haass, Hindemith and Stravinsky, and seeks to relate them to the broader range both of player piano compositions and music for other automatic musical instruments, as well as the stylistic developments of the time. A number of items are in score for the first time, and an attempt at a complete listing of the repertory for player piano is included.

APA, Harvard, Vancouver, ISO, and other styles

3

Lee, Kyung-ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035961.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Damm, Bernt W. "The development of a piano-recorder system." Thesis, Cape Technikon, 1993. http://hdl.handle.net/20.500.11838/1155.

Full text

Abstract:

Thesis (Masters Diploma (Electrical Engineering)--Cape Technikon, Cape Town, 1993<br>This thesis describes the development and design of a pianorecorder system. This system makes it possible to record the notes played on a piano onto a computer disk. The records can then be used for the manufacturing of pianola rolls.

APA, Harvard, Vancouver, ISO, and other styles

5

Lilley, Andrew. "The jazz piano style : a comparative study of bebop, post-bebop and modern players." Doctoral thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/9262.

Full text

Abstract:

Includes bibliographical references.<br>The study embraces a need to document the jazz piano style through analytical representation of key players in the jazz tradition. While there are several educational books outlining method, there is little material discussing jazz style in the context of influential piano players. Educator and author, David Baker, has undertaken to introduce several books from this perspective for some of the more influential horn players (Baker 1982). A search for the jazz style of Bud Powell, Thelonius Monk or Horace Silver, however, will reveal little material and where available this constitutes mostly short biographical information often occupying less than a paragraph within a chapter of historical context. Thomas Owens, for example, discusses the bebop style in 'Bebop, The Music and the Players' (Owens, 1995). He mentions most of the key players for each instrument and discusses their respective stylistic traits. The work is very informative from an overall perspective but serves only to introduce a broad understanding of the players listed. There is very little in-depth analytical discussion or comparative study on style. The subject base is too large for this kind of detail.

APA, Harvard, Vancouver, ISO, and other styles

6

Yoshimura, Eri. "Risk factors for piano-related pain among college students and piano teachers solutions for reducing pain by using the ergonomically modified keyboard /." Thesis, connect to online resource. Recital, recorded Apr. 14, 2006, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/ark:/67531/metadc1469.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Jacoby, Derek. "The Music of Lee Hyla| An Analysis of the First Movement of Concerto for Piano and Chamber Orchestra no. 2 and a Survey of Stylistic Elements in His Music, and an original composition, "Palindromic One| Number 31", for seven players." Thesis, Brandeis University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3562303.

Full text

Abstract:

<p>The first part of this dissertation is a detailed analysis of the first movement of Lee Hyla’s <i>Concerto for Piano and Chamber Orchestra no. 2</i> (1991). The second part documents stylistic elements over the course of his compositional output.</p><p> The <i>Concerto</i> will serve as the focal point of analysis for two reasons. First, Hyla uses a more surface-level and audible musical narrative, a type of narrative he began employing in his music between 1981 and 1983. The <i>Concerto</i>, coming eight to ten years later, is sufficiently removed from the initial works, allowing this technique time to further develop. By 1991, other important facets of his approach emerged, elements employed in many compositions that followed, including some of his most recent.</p><p> The second reason for the selection of the <i>Concerto</i> pertains to the exact type of narrative employed. In Hyla’s compositions, the musical narrative ranges from almost completely flowing, in which most sections seamlessly transition to the next, to almost completely juxtaposed, in which blocks of contrasting music are linked with little or no transition. In the middle, there is a large gray area representing a merger of the two, partially flowing and partially juxtaposed. This is where the Concerto is found.</p><p> The second part of this analysis will examine several stylistic elements of Hyla’s larger style. Through numerous examples, drawn from well over a dozen pieces composed from 1978 to present, further light will be shed on some of the consistent compositional techniques found in Hyla’s music. </p>

APA, Harvard, Vancouver, ISO, and other styles

8

Lee, Kyung-Ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912." 2001. http://hdl.handle.net/2152/10669.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Player piano music"

1

Dachman, Adam. The player piano mouse. Player Piano Mouse Productions, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

John, Eaton. Microtonal fantasy: For one player at two pianos. Associated Music Publishers, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Rachmaninoff, Sergei. Rachmaninov: Vol. III. Oiseau-Lyre, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Rachmaninoff, Sergei. Rachmaninov: Vol. II. Oiseau-Lyre, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Bernstein, Seymour. Moodscapes: For piano : ten recital pieces for the intermediate player. G. Schirmer, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Smith, Charles Davis. Duo-Art piano music: A complete classified catalog of music recorded for the Duo-Art reproducing piano. Player Shop, 1987.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Roehl, Harvey N. Player piano treasury: The scrapbook history of the mechanical piano in America. Taylor Trade Pub., 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Billings, Ginny. The Billings rollography: Player piano music from 1917 to 1934. Rock Soup, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Symposium Seewen (2013 Seewen, Solothurn, Switzerland). "Recording the soul of music": Welte-Künstlerrollen für Orgel und Klavier als authentische Interpretationsdokumente? : Symposium Seewen 2013. HKB, Hochschule der Künste Bern, 2017.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Gottschewski, Hermann. Die Interpretation als Kunstwerk: Musikalische Zeitgestaltung und ihre Analyse am Beispiel von Welte-Mignon-Klavieraufnahmen aus dem Jahre 1905. Laaber, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Player piano music"

1

Wente, Allison Rebecca. "Absolute Music and the Player Piano." In The Player Piano and Musical Labor. Routledge, 2022. http://dx.doi.org/10.4324/9781003093268-5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Rando, David P. "The Artist and Technology: William Gaddis’s Agapē Agape, or the World’s Smallest Player Piano Playing Itself Just for You." In Hope and Wish Image in Music Technology. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-34015-9_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

"William Gaddis’ Player Piano." In Music in the Words: Musical Form and Counterpoint in the Twentieth-Century Novel. Routledge, 2017. http://dx.doi.org/10.4324/9781315090832-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Pouliopoulos, Meletios. "Greek Music Piano Rolls in the United States." In Greek Music in America. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0015.

Full text

Abstract:

In “Greek Piano Rolls in the U.S.,” collector Meletios Pouliopoulos presents ground-breaking research on Greek piano roll recordings of the 1920s and 1930s. Player pianos were popular in the late nineteenth and early twentieth centuries, and piano roll companies, like record distributers, issued significant quantities of Greek piano rolls to target the ethnic market. Pouliopoulos conducted interviews and explored existing catalogs to unearth the forgotten history of ethnic, and particularly Greek, music produced on piano rolls by the QRS Company of Buffalo, NY and Alector. He also correlates the production of rolls to both sheet music publications and phonograph recordings of the time, as well as to the production of music by particular artists or in some genres rarely heard today.

APA, Harvard, Vancouver, ISO, and other styles

5

"Storing Music in Edwardian Fiction." In The Player Piano and the Edwardian Novel. Routledge, 2016. http://dx.doi.org/10.4324/9781315554631-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Katz, Mark. "7. Five theses about music and technology." In Music and Technology: A Very Short Introduction. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/actrade/9780199946983.003.0007.

Full text

Abstract:

Abstract The concluding chapter proposes five central takeaways from this volume in the form of five theses about music and technology. They are as follows: 1. All music is technological. 2. Our relationship with music technology is fundamentally collaborative. 3. All uses of musical technologies reveal power relationships. 4. The mass mediation of music has not eliminated cultural differences. 5. The study of music technology is the study of people. The five theses are illustrated through a diverse array of examples, including a comparison of the traditional piano and the player piano; the musical demands and possibilities of video games such as Guitar Hero; the use of radio in Nazi Germany; the emergence of the steel drum as a musical instrument in Trinidad; hip hop in Zimbabwe; and the musical handclapping and rope jumping games of African American girls.

APA, Harvard, Vancouver, ISO, and other styles

7

Steinberg, Michael. "Sergei Prokofiev." In The Symphony. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195061772.003.0022.

Full text

Abstract:

Abstract Prokofiev, a much-cosseted only child ( two sisters had died before he was born), began composing at five, and before he was out of his teens he had written four operas, two symphonies, and a stack of piano music. His mother, a cultivated player, was his first piano teacher, and in 1902 the composer Reinhold Gliere was brought into the household as musical tutor to the eleven-year-old Sergei Sergeievich.

APA, Harvard, Vancouver, ISO, and other styles

8

Upitis, Rena. "Performance." In This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0006.

Full text

Abstract:

This chapter introduces the many ways of experiencing live performance in school settings, with special emphasis on one of the main performance venues that was developed at the school where the activities described in this book took place. The school’s short, weekly “recess concerts” featured a variety of works, including guest performances by vocalists, flautists, and a French horn player from the community. Children played recorders, Orff instruments, piano, and flute, and they sang and narrated computer compositions, featuring both their own compositions and other repertoire. In emulating concert-going behavior outside of school, children were required neither to attend nor to perform. The role of audience members, as both supportive and critical, is also discussed in terms of creating a culture for children’s compositions. The nature of an informed audience, with ways of fostering such an audience through classroom interactions, is a construct that is woven throughout the chapter.

APA, Harvard, Vancouver, ISO, and other styles

9

Tucker, Mark. "“The Duke Ellingtons-Cotton Clubbers En Masse” (1937)." In The Duke Ellington Reader. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195054101.003.089.

Full text

Abstract:

Abstract Duke Ellington (leader and piano)-God’s greatest gift to jazz ... tremen dously popular and exceedingly modest ... world’s greatest jive artist and protagonist of Ellingtonian chivalry ... hates peanuts on pianos, whistling on stage, three on a match, dangling buttons ... consequently the inventor of wrap-around coats ... rabid bridge player ... calls his slight, slender wife “Tubby” ” ” ” always orders last so that the stuff he swipes from other people’s plates will agree with what he’s eating ... deadly serious only about his music his colossal feats in that department are too well known to bear repetition. Otto Hardwick (1st sax)-bald at 19 ... now 32 ... looks older ... used to fiddle bass in Washington ... dad carried it to work for him ... got his first.

APA, Harvard, Vancouver, ISO, and other styles

10

Manning, Jane. "RUTH CRAWFORD SEEGER (1901–1953)Five Songs (1929)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0019.

Full text

Abstract:

This chapter considers the works of Ruth Crawford Seeger, whose music employs the fine settings of poet Carl Sandburg. The music is subtly distinctive, though straightforward to the eye. Words are set with unaffected simplicity and piano writing is idiomatic and evocative. Mostly fragmentary, understated vocal lines are underpinned by contrastingly elaborate, flowing keyboard writing. On its own, the voice part should pose few technical problems, except that of maintaining a clear tone. Crawford Seeger shows real mastery of the art song in the balanced relationship between the two performers. She habitually played her own accompaniments, which clearly require a confident player. Conventional notation is employed throughout, with time (but not key) signatures.

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Player piano music"

1

Hishida, Hirotoshi, Shigehiro Hashimoto, Kaito Saeki, Hikaru Kono, and Keiko Hishida. "Basic Research on Music Prescriptions - Second Experiment With Classical Music." In ASME 2023 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/imece2023-113358.

Full text

Abstract:

Abstract The authors assume that the stress state can be expressed by a value, SMB, and are trying to develop a method to change the value in an appropriate direction by music. This paper compares the results of the music therapy experiment conducted in 2022 with those in 2020. Subjects are recruited and classified into four groups according to whether they know the pieces played and whether they like the music. Some subjects wear the pulse oximeter throughout the concert. Other methods are employed to measure the stress states of all subjects at the beginning, the intermission, and the end of the concert. Based on the experiment, the possibility of prescribing classical music to patients is recognized. The same music has different effects on the subjects, depending on the type of music and the subject’s characteristics such as gender and whether he/she likes the music. The effects also differ depending on the piano player. In other words, prescribing music would not be simply selecting songs according to the symptoms. In the future, the music database will be grown up and the experimental methods using public concerts will be improved. Some of the stress measurement methods employed in this experiment may be combined to determine SMD.

APA, Harvard, Vancouver, ISO, and other styles

2

Liu, Jinge, and Shuyu Wang. "Piano4Play: An Automated Piano Transcription and Keyboard Visualization System using AI and Deep Learning Techniques." In 8th International Conference on Control, Modeling and Computing (CMC 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120502.

Full text

Abstract:

Piano keyboard visualization was very popular right now, but there are very few virtual piano keyboard visualizations right now [1]. I was using unity to show the virtual piano keyboard and then they can play piano pieces by themselves or play a recording online [2]. After that you can listen and see how the recording pieces play it on the visual keyboard to give them a clear idea about how the songs played on a keyboard2 [3]. For those who played by themselves it can let them heard and know also when the visual piano play for them, they can tell if they have offbeat playing or they missing not. Piano4Play is an automated piano transcription and keyboard visualization system using AI and deep learning techniques. The user could upload a recorded piece of music, and our app would visualize the music on a digital piano keyboard. The user could see how the music is played visually in order to help piano beginners to see how the music will be played on piano in order to help them learn more quickly and easier, and advanced players could use the app to see whether they made any mistake when they are playing so they can get some improvement. Our app uses wav and MIDI files, repl, real-time database, google Collab and Unity.

APA, Harvard, Vancouver, ISO, and other styles

3

Fanger, Yara, Ken Pfeuffer, Udo Helmbrecht, and Florian Alt. "PIANX – A Platform for Piano Players to Alleviate Music Performance Anxiety Using Mixed Reality." In MUM 2020: 19th International Conference on Mobile and Ubiquitous Multimedia. ACM, 2020. http://dx.doi.org/10.1145/3428361.3428394.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Hatipova, Inna. "Vitaly Sechkin: in memoriam." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.19.

Full text

Abstract:

The purpose of the article is to elucidate the contribution of Vitaly Sechkin, a renowned pianist, composer and pedagogue, to the development of the musical culture of Moldova of the late 1980s. A member of a musical dynasty that is well- known in Ukraine, V. Sechkin became one of the remarkable musical figures who combined the talents of a performer, composer and pedagogue. The author presents the major milestones of his life and artistic path, shows the role of his family, school and conservatory in the acquisition of his professional knowledge and skills. The author shows the significance of the piano and composition lessons given to V. Sechkin by the professors Nadezhda Landesman, Mikhail Tits and Yakov Zak, that gave him basic knowledge in these areas. Based on the analysis of factual material and the statements of his colleagues, prominent figures in the cultural life, the author concludes that Vitaly Sechkin played an important role in the development of the musical art of the Republic of Moldova.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!