Related papers: Purrfect Pitch: Exploring Musical Interval Learnin…
Traditional instrument learning is time-consuming. It begins with learning music notation and necessitates layers of sophistication and abstraction. Haptic interfaces open another door to the music world for the vast majority of beginners…
This study explores the integration of auditory and tactile experiences in musical haptics, focusing on enhancing sensory dimensions of music through touch. Addressing the gap in translating auditory signals to meaningful tactile feedback,…
We present the findings of a pilot-study that analysed the role of haptic feedback in a musical context. To examine the role of haptics in Digital Musical Instrument (DMI) design an experiment was formulated to measure the users' perception…
This paper introduces a novel interface for experiencing music through haptic impulses to the palm of the hand. It presents a practical implementation of the system exploring the realm of musical haptics through the translation of MIDI data…
Multi-pitch estimation is a decades-long research problem involving the detection of pitch activity associated with concurrent musical events within multi-instrument mixtures. Supervised learning techniques have demonstrated solid…
Many music theoretical constructs (such as scale types, modes, cadences, and chord types) are defined in terms of pitch intervals---relative distances between pitches. Therefore, when computer models are employed in music tasks, it can be…
The emotional and structural experience of music remains a significant accessibility challenge for the deaf and hard of hearing community. This paper introduces MUSTEM (Multisensorial Emotional Translation), a novel system designed to…
Pitch is a fundamental aspect of auditory perception. Pitch perception is commonly described across two perceptual dimensions: pitch height is the sense that tones with varying frequencies seem to be higher or lower, and chroma equivalence…
Music is a form of expression that often requires interaction between players. If one wishes to interact in such a musical way with a computer, it is necessary for the machine to be able to interpret the input given by the human to find its…
Pitch is a foundational aspect of our perception of audio signals. Pitch contours are commonly used to analyze speech and music signals and as input features for many audio tasks, including music transcription, singing voice synthesis, and…
Haptic interfaces have untapped the sense of touch to assist multimodal music learning. We have recently seen various improvements of interface design on tactile feedback and force guidance aiming to make instrument learning more effective.…
There is a recommended body posture and hand position for playing every musical instrument, allowing efficient and quick movements without blockage. Due to humans' limited cognitive capabilities, they struggle to concentrate on several…
Breath is a significant component in singing performance, which is still underresearched in most singing-related music interfaces. In this paper, we present a multimodal system that detects the learner's singing pitch and breathing states…
Definitive embeddings remain a fundamental challenge of computational musicology for symbolic music in deep learning today. Analogous to natural language, music can be modeled as a sequence of tokens. This motivates the majority of existing…
This paper addresses the problem of cross-modal musical piece identification and retrieval: finding the appropriate recording(s) from a database given a sheet music query, and vice versa, working directly with audio and scanned sheet music…
Music Information Retrieval (MIR) systems are highly vulnerable to adversarial attacks that are often imperceptible to humans, primarily due to a misalignment between model feature spaces and human auditory perception. Existing defenses and…
Many audio processing tasks require perceptual assessment. The ``gold standard`` of obtaining human judgments is time-consuming, expensive, and cannot be used as an optimization criterion. On the other hand, automated metrics are efficient…
Advances in tactile-audio feedback technology have created new possibilities for deaf people to feel music. However, little is known about deaf individuals' perception of musical emotions through vibrotactile feedback. In this paper, we…
This study looked into how effective a Musical Brain-Computer Interface (MBCI) can be in providing feedback about synchrony between two people. Using a double EEG setup, we compared two types of musical feedback; one that adapted in…
Electrotactile feedback is a promising method for delivering haptic sensations, but challenges such as the naturalness of sensations hinder its adoption in commercial devices. In this study, we introduce a novel device that enables the…