Relevant bibliographies by topics / Piano roll

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Piano roll'

Author: Grafiati
Published: 22 February 2024

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Journal articles on the topic "Piano roll"

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Hill, George R. "Catalog of the Reproducing Piano Roll Collection, International Piano Archives at Maryland." Notes 41, no. 3 (March 1985): 515. http://dx.doi.org/10.2307/941168.

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Berlin, Edward A., James Dapogny, Ronny S. Schiff, and David A. Jasen. "Ferdinand "Jelly Roll" Morton: The Collected Piano Music." American Music 4, no. 1 (1986): 112. http://dx.doi.org/10.2307/3052191.

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Riley, Kathleen, Edgar E. Coons, and David Marcarian. "The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance." Medical Problems of Performing Artists 20, no. 2 (June 1, 2005): 82–88. http://dx.doi.org/10.21091/mppa.2005.2016.

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Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providing immediate biofeedback. This paper describes and illustrates a multimodal use of these biofeedback technologies and the powerful advantages of such a multimodal approach in making the student and teacher not only aware of improper alignments and balances in real time (or for later review) but also aware of approaches to correct them and improve musical outcome. The modalities consist of hearing playback through a Disklavier piano; simultaneous visual feedback displayed as a piano roll screen of what was played; video recording synchronized with the Disklavier and piano roll feedback; motion analysis of the arms, hands, and fingers; and electromyographic recordings of the muscle actions involved.
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Lin, Mengqian, and Rui Zhao. "A Study of Piano-Assisted Automated Accompaniment System Based on Heuristic Dynamic Planning." Computational Intelligence and Neuroscience 2022 (May 23, 2022): 1–11. http://dx.doi.org/10.1155/2022/4999447.

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In this paper, a piano-assisted automated accompaniment system is designed and applied to a practical process using a heuristic dynamic planning approach. In this paper, we aim at the generation of piano vocal weaves in accompaniment from the perspective of assisting pop song writing, build an accompaniment piano generation tool through a set of systematic algorithm design and programming, and realize the generation of recognizable and numerous weaving styles within a controlled range under the same system. The mainstream music detection neural network approaches usually convert the problem into a similar way as image classification or sequence labelling and then use models such as convolutional neural networks or recurrent neural networks to solve the problem; however, the existing neural network approaches ignore the music relative loudness estimation subtask and ignore the inherent temporality of music data when solving the music detection task. However, the existing music generation neural network methods have not yet solved the problems of discrete integrability brought by piano roll representation music data and the still-limited control domain and variety of instruments generated in the controllable music generation task. To solve these two problems, this paper proposes a controlled music generation neural network model for multi-instrument polyphonic music. The effectiveness of the proposed model is verified by conducting several sets of experiments on the collected MIDICN data set, and the experimental results show that the model achieves better performance in the aspects of negative log-likelihood value, perplexity, musicality measure, domain similarity analysis, and manual evaluation.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Tubb, Robert. "Controlling Rhythm in the Frequency Domain." Leonardo 48, no. 3 (June 2015): 282–83. http://dx.doi.org/10.1162/leon_a_01010.

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This article describes a way to approach music sequencing, with particular focus on the generation of dynamic rhythm patterns. In contrast to the well known “step sequencer” or “piano roll” style interfaces that specify note pitches and amplitudes as values located at points in time, the device described here calculates note patterns from the sum of a series of discrete sinusoids. When these patterns trigger velocity sensitive percussion sounds, useful rhythms can be generated and transformed with very few controls.
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Leikin, Anatole. "Piano‐roll recordings of Enrique Granados: A study of a transcription of the composer's performance." Journal of Musicological Research 21, no. 1-2 (January 2002): 3–19. http://dx.doi.org/10.1080/01411890208574796.

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LEIKIN, ANATOLE. "Piano-Roll Recordings of Enrique Granados: A Study of a Transcription of the Composer's Performance." Journal of Musicological Research 21, no. 1-2 (January 1, 2002): 3–19. http://dx.doi.org/10.1080/01411890290024333.

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Dunsby, Jonathan, and Yannis Rammos. "Onset asynchrony in Western art music." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 126–58. http://dx.doi.org/10.37536/quodlibet.2021.76.1465.

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Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, organological, and aesthetic continuities that underly distinct practices of asynchrony. We consider the physical nature of such normally non-notated “microtiming”, ranging in performance from a few ms of melodic onset asynchrony to about 100ms, above which it is generally agreed that even the casual listener may perceive it. A piano-roll recording by Claude Debussy, of “The Little Shepherd”, illustrates the mix of melodic onset asynchrony, bass lead, and apparent simultaneity that may be applied in a single interpretation. We then discuss the concept of “audibility” and the question of to what extent, and in what ways, the combined transients of piano attacks may interact. We consider with reference to 20th century Russian piano pedagogy why onset asynchrony seems to have been a little documented, rather than an explicit playing technique, even though certain sources, such as a 1973 treatise by Nadezhda Golubovskaya, show it to be ubiquitous and well theorised. Finally, regarding the thinking that has predominated in musical performance studies in recent decades, with its emphasis on average practices and “ordinary” listeners, we suggest that a new emphasis will be fruitful, that is, research on what is particular about the embodied creativity of expert musicians.
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Martin, Sarah. "The Case of Compensating Rubato." Journal of the Royal Musical Association 127, no. 1 (2002): 95–129. http://dx.doi.org/10.1093/jrma/127.1.95.

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Rubato has for centuries been linked with the idea of compensating tempo modulation. Despite the wealth of references to this idea in writings by famous performers and teachers over the ages, scholars investigating the idea have so far emphatically dismissed the notion as a myth, or at best a rationalization. In this article, I take as a starting-point these performers' writings, and show that it is scholars rather than performers who have reduced the idea of compensation to an abstract principle. Using Debussy's 1913 piano-roll recordings as examples, I show with the aid of empirical timing data and close listening that compensating rubato is far from a myth in the performance practice of the early twentieth century.
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Dissertations / Theses on the topic "Piano roll"

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Wikström, Fanny. "Folkmusik på piano : En studie av tre folkmusikpianisters spelsätt och deras förhållningssätt till pianot som folkmusikinstrument." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6538.

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Syftet med denna uppsats har varit att få en inblick i hur pianot används inom den svenska folkmusiken. Bakgrundskapitlet handlar om folkmusikgruppernas och instrumenteringens utveckling inom svensk folkmusik. Jag har intervjuat tre aktiva folkmusikpianister och lyssnat på och analyserat deras spel. Det följer även med en cd-skiva med ljudexempel från intervjutillfällena. Vi pratade om karaktärsdrag som de lyfter fram i spelet, om deras inställning till folkmusiktraditionen, pianots möjligheter och begränsningar samt vilken roll pianot har i den svenska folkmusiken. Mina slutsatser är att pianot har flera roller i ett samspel med andra musiker. Pianisten kan spela melodi, rytmik, harmonik och även alltihop samtidigt. Pianot fungerar väldigt bra som soloinstrument men också som ett samspelsinstrument. Vad som gör att pianots plats i folkmusiktraditionen är väldigt liten är bland annat dess opraktiska storlek. Jag har också kommit fram till att pianot tillför en ny klang, ett nytt sound till svensk folkmusik.
The purpose of this study is to acquire a glimpse of how the piano is used in Swedish folk music. The background chapter deals with folk music groups and the development of instrumentation in Swedish folk music. I have interviewed three active folk music pianists, listened to and analyzed their playing style. There is also a CD with music examples from the interview sessions. We discussed the characteristics of their own playing, their attitudes to folk music tradition, the piano's possibilities and limitations, and the role of the piano in Swedish folk music. My conclusion is that the piano functions on several levels while interacting with other musicians. Pianists can play melody, rhythm, harmony, and all of this simultaneously. The piano works very well as a solo instrument, yet also as an ensemble instrument. The small role of the piano in Swedish folk music may be due to its impractical size. I have also discovered that the piano contributes to a new sound to Swedish folk music.
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Larsson, Daniel. "Tumregeln : En självstudie om tummen och dess roll i pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78004.

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Syftet med denna studie är att utforska vilken roll tummen spelar inom pianoteknik, vilka metoder som kan användas för att minska ofrivilliga spänningar i tummen samt om medveten övning under en period leder till en märkbar förbättring i tumteknik. Studien utgår ifrån ett fenomenologiskt perspektiv och baseras på självobservationer med hjälp av loggbok och videodokumentation. Forskning tyder på att överansträngning av tummens muskler är vanligt bland pianister, samt att fingrarna påverkar varandra i deras rörelser. Litteratur inom pianoteknik diskuterar ofta hur tummen kan påverka spelet och att problematiken med ofrivilliga spänningar. I resultatet diskuteras min upplevda utveckling, vilka metoder jag använde och vilka fördelar jag upplevde i samband med färre spänningar i tummarna. I resultatet framgår det att jag i samband med dedikerade övningspass upplevde en förbättring i tumteknik på flera håll, att flera olika metoder för att minska ofrivilliga spänningar i tummens muskler hittades och att det fanns flera fördelar med friare tummar, exempelvis mindre trötthet och mer tillfredställande musikalisk gestaltning. Studien ställer resultatet mot tidigare litteratur och forskning och finner samband mellan bland annat använda metoder och hur trötthet i muskler infinner sig under pianospel.
The purpose of this study is to investigate the roll of the thumb in piano technique, what methods can be used to reduce involuntary tensions in the thumb and whether dedicated practise over a certain time period can lead to a noticeable improvement of thumb technique. The study is based on a phenomenological perspective and self-observations using a logbook and video recordings. Research suggests that excessive straining of the thumb’s muscles is common among pianists, and that fingers affect each other in their movements. Literature on piano technique regularly discuss how the thumb can affect piano playing as well as the problems of involuntary tensions. The results of this study discuss my experiences of progress, what methods I used and what advantages I experienced in relation to less tension in the thumbs. The results show that I, on account of my dedicated practising, experienced an improvement in thumb technique on several levels, that different methods to reduce the amount of tension in the thumbs were found, and that there were several advantages with freer thumbs, for example reduced fatigue and more satisfying musical performances. The study discusses the results in relation to earlier literature and research and establishes connections between, among other things, applied methods and how fatigue in the muscles is manifested during piano playing.
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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.

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Hoogland, Anna. "Tangenttradition : En kvalitativ intervjustudie om musiklärarstudenters syn på pianots roll i sångundervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78878.

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Föreliggande studies syfte är att undersöka hur musiklärarstudenter med inriktning sång i de olika genrerna jazz, folkmusik och klassisk musik ser på pianots roll i sångundervisning. Tidigare litteratur och forskning berör pianots användande inom ramen för instrumentalundervisning och hur det kan påverka olika undervisningssituationer. Studien har en kvalitativ forskningsansats och utgår från det sociokulturella perspektivet på lärande. Semistrukturerade, kvalitativa intervjuer har använts som metod för att undersöka de individuella uppfattningar som finns hos musiklärarstudenterna angående pianots roll i sångundervisning. Materialet har sedan analyserats med hjälp av tematisk analys. Resultatet visar att pianot har en kulturell betydelse, vilket gestaltas genom erfarenheter av hur pianot har använts inom olika genrer och allmänna förväntningar på att använda pianot. Dessutom framkommer att musiklärarstudenterna har ambivalenta förhållningssätt till pianots roll, vilket skildras i beskrivningar av vilka möjligheter och svårigheter pianots olika användningsområden kan föra med sig. I diskussionen lyfts frågor angående innebörden av att ta efter sin lärares didaktiska val gällande förhållningssätt till pianot i sångundervisning, men även frågor som berör musiklärarutbildningen som traditionsinriktad respektive nytänkande. Slutligen diskuteras sångundervisning med eller utan piano, med utgångspunkt i pianots möjligheter och svårigheter.
The purpose of this study is to examine how music teacher students specialized in the different genres jazz, folk music and classical music view the function of the piano in singing lessons. Previous research refers to the use and influence of the piano regarding instrumental teaching. The study is qualitative and is based on the sociocultural perspective on learning. Semi structured interviews have been used as a method to investigate what individual perceptions the music teacher students have on the functions of the piano in singing lessons. To analyse the material, thematic analysis has been used as a method. The result shows that the piano is culturally associated, which is seen in the different use of the piano within different genres. The piano as an instrument associated with general expectations has also been observed. Furthermore, it appears that the music teacher students have ambivalent approaches to the function of the piano, which is depicted in descriptions of the possibilities and difficulties that can occur in different ways of using the piano. In the discussion, questions about the ability to adopt the teacher’s didactic choices is mentioned. Also, the role of the music teacher program based on tradition and rethinking is discussed. Additionally, the consequences of teaching singing students with or without the piano is discussed, based on the possibilities and difficulties of the use of the piano.
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Romero-García, Gonzalo. "Mathematical Morphology for the Analysis and Generation of Time-Frequency Representations of Music." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS554.

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Cette thèse explore l'application de la Morphologie Mathématique à l'analyse et la génération de musique, en se concentrant sur deux représentations en temps-fréquence : les spectrogrammes et les piano rolls. La morphologie mathématique est un outil de traitement des images non linéaire qui sert à considérer des notions topologiques de l'image. Nous présentons trois applications. La première est d'analyser des spectrogrammes avec des outils morphologiques pour obtenir des paramètres avec lesquels synthétiser un son d'instrument de musique. La deuxième est de générer des piano rolls avec deux paramètres musicaux, la texture et l'harmonie, en les disposant grâce à la dilatation morphologique. La troisième est d'appliquer des opérateurs morphologiques pour analyser des piano roll à l'aide de la théorie des graphes. La thèse propose donc de nouvelles approches pour des problèmes d'analyse sonore et musicologie computationnelle
This thesis explores the application of Mathematical Morphology to the analysis and generation of music, focusing on two time-frequency representations: spectrograms and piano rolls. Mathematical Morphology is a nonlinear image processing tool that serves to consider topological notions of the image. We present three applications. The first is to analyze spectrograms with morphological tools to obtain parameters with which to synthesize a musical instrument sound. The second is to generate piano rolls with two musical parameters, texture and harmony, by arranging them through morphological dilation. The third is to apply morphological operators to analyze piano rolls using graph theory. The thesis thus proposes new approaches for problems in sound analysis and computational musicology
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Seah, Tsu Tham Tommy. "Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2131.

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The genre of the Étude emerged with the increased popularity of the piano in the nineteenth century. It was often composed to provide practice material for perfecting a particular performance technique. Frederic Chopin (1819 – 1849) and Franz Liszt (1811 – 1886) are among the earliest composers whose Études are well established in the canon of concert piano repertory. Later emerged the new genre of Études that are considered worthy of the concert platform – the Concert Étude. Born in 1859 in Yaroslavl, Russia, Sergei Mikhailovich Lyapunov (1859 – 1924) was a highly regarded composer, pianist, conductor, editor, and teacher of his time. Lyapunov’s ‘Douze Études d’Execution Transcendantes’, Op. 11, was composed by between 1897 and 1905, in the memory of Franz Liszt, and is considered to be one of Lyapunov’s most significant compositional achievements. The influence of Liszt and composers of the Russian Mighty Five are evidently present in Op. 11. Overshadowed by his younger contemporaries whom experimented with new styles and techniques, Lyapunov and his music are largely forgotten today. This research project explores the performance practice of three Russian pianists – with a focus on pianists associated with the Moscow Conservatory at the turn of the twentieth century – with an aim to quantify aspects of style of Russian pianism of the time. The methodology employed in this research includes both qualitative discourse of literary sources, and a series of systematic computational tempo analyses of reproducing piano roll recordings by pianists that fit the research criteria. Results revealed a number of stylistic aspects such as unnotated arpeggiation, notes inégales, and other aspects of rubato. These aspects of style, alongside historiographical findings, are both corroborated, reconsidered through reflexive pratice, and finally compiled in a performance edition of Lyapunov’s ‘Douze Études d’Execution Transcendantes’, Op. 11.
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Phillips, Peter. "Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16939.

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Reproducing piano rolls have been of great interest to me for nearly 40 years, yet despite their significant potential in a number of research areas, they remain largely untapped. In my thesis I seek to discover why this vast historical library of music and interpretations is not more widely acknowledged and utilised. Reproducing piano rolls provide a valuable evidence of nineteenth-century performing practices, as well as offering unique pathways to other forms of research. The substantive catalogues of art music alone prove the musical worth of these rolls. Numerous commentators have chosen either to ignore or to consciously dismiss reproducing piano roll recordings as a valid representation of the art of the pianist. Clearly, in the majority of cases, their opinions have been formed through hearing rolls replayed on poorly adjusted instruments; the piano rolls themselves are not the problem. To dispel the myths that have taken hold as a result, I examine how three major piano roll companies made their recordings, and test the common criticism that these recordings were subjected to invasive editorial change. Accessing faithful piano roll recordings is an acknowledged problem. My viewpoint is that if piano roll recordings are made as accessible as early sound recordings, many rich research opportunities will present themselves. Archiving piano rolls remains an area desperately in need of further research. In this thesis I present the philosophy underpinning my methodology for developing the means to record piano rolls as raw MIDI files. Making the raw files compatible with contemporary MIDI instruments provides the sought-after accessibility, a topic that has so far attracted minimal academic interest.
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Damm, Bernt W. "The development of a piano-recorder system." Thesis, Cape Technikon, 1993. http://hdl.handle.net/20.500.11838/1155.

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Thesis (Masters Diploma (Electrical Engineering)--Cape Technikon, Cape Town, 1993
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.
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Simones, Lilian Lima. "The role of gesture in piano teaching and learning." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676714.

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The experience of engaging with music through listening, teaching and learning would be impossible without a bodily interface, through which movement and music can be physically produced, experienced and understood. Physical gestures form a central part of the communication established between the teacher-student dyad in the communication of symbolic and functional musical knowledge. Factors such as gesture types (forms and meanings) and their specific outcomes in the teaching and learning processes have been consistently overlooked in the instrumental music pedagogical context. This thesis prioritises such undervalued topics, focusing its enquiry upon piano teachers' hand gestures used to communicate with students during the teaching process and incorporates theoretical frameworks from disciplines such as: music-psychology, psycholinguistics, gesture studies, gesture-led educational research, imitation and observational motor-learning. Three investigations were carried out to investigate the role of teachers' gestures in piano teaching and learning. The first two combined qualitative and quantitative approaches - the results of which were used in establishing the first known categorisation of piano teachers' gestures. Amongst the most intriguing findings were the relationship between teachers' didactic intent and the forms of gesture they employed, and 'gestural scaffolding' (when teachers adapted particular gestural communicative channels to suit specific student skill levels). In the third investigation an experimental setting was used to observe and evaluate the role of teaching gestures in one-to-one instrumental tuition. Here different gestural teaching and learning conditions yielded multiple levels of learning effectiveness, implying a need for empirical understanding and establishment of gestural performance as a concept that can be applied to enhance learning across specific pedagogical contexts. As well as building a case for future investigations in this research area, this thesis opens a debate within studies of pedagogical practice in instrumental music teaching, whilst contributing more generally to discussions of how the body impacts upon music understanding.
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Hill, Juliet E. "The 'conjunto' piano in 1940s Cuba : an analysis of the emergence of a distinctive piano role and style." Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/26210/.

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By the early 1940s, the piano was an established part of the Cuban conjunto in the performance of son montuno, one of the great 20th century Cuban dance musics. Its role, however, has been given little attention by scholars. This thesis documents the emergence of an idiomatic and highly influential piano style during the 1940s in the new context of the conjunto. It argues that the piano represents a challenge to accepted views of the continuation of African musical practices in Cuba. Popular and academic perceptions of the African heritage in Cuba are directly related to the country's historical position as a former plantation slave society, in which African cultural forms were seen to survive within specific parameters, and in which the recreation of African musical instruments was a key feature. This has resulted in an over-simplification and binary categorisation of European and African musical elements. The perception of the piano as European has precluded it from the study of the broader application of African musical principles in the Americas, and discussions of African influence in Cuban piano style concentrate on the instrument's percussive qualities rather than a change in function. The conjunto piano style contests this paradigm, and the transformation that it embodies is more complex than a rhythmic or percussive touch. Although drawing on the role of the piano in other types of ensemble, conjunto pianists also recreated the musical function of the tres, a Cuban variant of the guitar, which had been the predecessor of the piano in the playing of son montuno. It is this that links the conjunto piano style with a wider musical world. Although elements such as call and response and the prominence given to improvisation have been seen in the literature as part of son montuno''s African legacy, only Sublette (2004) has made the connection between African musical structures and the piano montuno, the repeated rhythmic ostinato which underscores instrumental and vocal improvisation. My approach draws on both detailed musical analysis and the wider study of African music. Working from commercial recordings from the period, I argue that the construction and function of this ostinato can be linked to wider African musical principles. The practice of interlocking - the creation of harmony by means of a continuing stream of interlocked notes rather than block chords, and using motion to establish a harmonic centre - is characteristic of many African musical forms and is a key part of the piano montuno. Illustrated with extensive transcriptions from 1940s recording and present day performance, this analysis of the multiple functions of the conjunto piano provides insights into deeper principles of musical organisation that are at the heart of Cuban musical identity.
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Books on the topic "Piano roll"

1

Babit, Hi. The flying piano roll man. United States?]: Xlibris Corporation, 2011.

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The Rock 'n' Roll Piano Songbook: A collection of the best Rock 'n' Roll Piano Songs. [S.l.]: Faber Music, 2009.

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Larry, Sitsky, ed. The Classical reproducing piano roll: A catalogue-index. New York: Greenwood Press, 1990.

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Durrant, Edward. The conservation of an 88-note piano roll. (London: Camberwell School of Art andCrafts), 1988.

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Jelly Roll Morton, la Old Quadrille e Tiger Rag: Una revisione storiografica = Jelly Roll Morton, the Old Quadrille and Tiger Rag : a historiographic revision. Lucca: Libreria Musicale Italiana, 2011.

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Morton, Jelly Roll. Two rags for saxophone (soprano, alto, or tenor) or clarinet and piano: Jelly Roll blues ; Frog-i-more rag. Boca Raton, Fla: Masters Music Publications, 1997.

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Rick, Kennedy. Jelly Roll, Bix, and Hoagy: Gennett Studios and the birth of recorded jazz. Bloomington: Indiana University Press, 1994.

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Stephenson, H. W. In search of Hofmann, or, Fair play for the reproducer: An inquiry into the technology of the pneumatic reproducing piano. Ramsey, Isle of Man, England: H.W. Stephenson, 1993.

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Smith, Charles Davis. Duo-Art piano music: A complete classified catalog of music recorded for the Duo-Art reproducing piano. Monrovia, Calif. (625 S. Myrtle Ave., Monrovia 91016): Player Shop, 1987.

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Billings, Ginny. The Billings rollography: Player piano music from 1917 to 1934. Belmont, CA (1518 Sunnyslope Ave., Belmont 94002): Rock Soup, 1990.

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Book chapters on the topic "Piano roll"

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Weik, Martin H. "player-piano roll." In Computer Science and Communications Dictionary, 1287. Boston, MA: Springer US, 2000. http://dx.doi.org/10.1007/1-4020-0613-6_14181.

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Wente, Allison Rebecca. "Queue the Roll." In The Player Piano and Musical Labor, 11–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003093268-2.

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Montgomery, Michael, Trebor Jay Tichenor, and John Edward Hasse. "Ragtime on Piano Rolls." In Ragtime, 90–101. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08401-2_6.

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Montgomery, Michael, Trebor Jay Tichenor, and John Edward Hasse. "Ragtime on Piano Rolls." In Ragtime, 90–101. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08404-3_6.

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Wu, Yingyu. "An Analysis of the Role of Piano Accompaniment in Folk Music Performance." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022), 58–65. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_9.

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Yang, Yang, Franziska Schroeder, and Matthew Rodger. "The Role of Perfectionism in Music Performance Anxiety Within University Piano Majors in China." In Springer Series in Design and Innovation, 674–89. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09659-4_48.

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Bellacci, Francesco. "La scuola media superiore a Cuba nei primi venti anni di Rivoluzione. Al servizio della collettività e dei piani economici del Partito." In Esercizi di ricerca, 135–47. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-215-0081-3.15.

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The history of the Cuban school is doubly intertwined with the history of the country’s social and economic evolution since the early days of the 1956 Revolution. Arguably, the escuela media superior has been the most subjected to experiments, reforms, successes, mistakes and difficulties, but it has been recognized as having a distinct degree of quality by international bodies, such as UNESCO. This ‘level’ of the Cuban educational system has assumed a fundamental role over the decades, after having resolved the shortcomings of the previous school system and having been adapted on several occasions to the changes in the socio-economic policies of the communist government. In fact, it trained qualified technicians essential to the economic development of Cuba and created a mass consciousness, whose unifying element resided in the collective commitment and not in that of the individual.
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Borghi, Maurizio. "Player Piano Roll." In A History of Intellectual Property in 50 Objects, 152–59. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108325806.019.

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"Piano Roll Artist." In Adrian Rollini, 20–39. University Press of Mississippi, 2019. http://dx.doi.org/10.2307/j.ctvs32qqp.6.

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van Delden, Ate. "Piano Roll Artist." In Adrian Rollini, 20–39. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0003.

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This chapter opens with the emergence of the pianola, the automatic piano, which allowed everybody to produce music on a piano. The music was coded in holes in rolls ofpaper which is pulled through the pianola. When the market had fully developed, Kohler, a manufacturer of piano parts decided to enter, too. It wanted to expand and formed a subsidiary, Republic, for the production and sale of piano rolls. In need for artists to make piano rolls, Republic found young Adrian Rollini andin 1920 the company offered him a contract. Republic issued1-4 piano rolls a month played by Rollini until it withdrew from the market. Rollini made afew more rolls for competitor MelOdeeand then left this field.
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Conference papers on the topic "Piano roll"

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Persad, Umesh, Keivi Howard, and Jorrel Bisnath. "THE ROLL-UP DIGITAL STEELPAN." In International Conference on Emerging Trends in Engineering & Technology (IConETech-2020). Faculty of Engineering, The University of the West Indies, St. Augustine, 2020. http://dx.doi.org/10.47412/ovhj9183.

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The steelpan (steel drum) is the national instrument of Trinidad and Tobago. Over the years, there have been various innovations in the design of the steelpan, including new electronic versions. This paper presents an addition to the family of digital steelpan instruments in the form of a low-cost roll-up digital steelpan (similar to a roll-up piano or roll-up drum kit). The idea as conceptualized is to have a flexible surface with solid steelpan notes following the traditional circle of fifths pattern. The playing surface could then easily roll up for transport and storage. The design of the roll-up digital steelpan is presented together with results on initial testing with musicians. Plans for further development of the product are also discussed.
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Schimbinschi, Florin, Christian Walder, Sarah M. Erfani, and James Bailey. "SynthNet: Learning to Synthesize Music End-to-End." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/467.

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We consider the problem of learning a mapping directly from annotated music to waveforms, bypassing traditional single note synthesis. We propose a specific architecture based on WaveNet, a convolutional autoregressive generative model designed for text to speech. We investigate the representations learned by these models on music and concludethat mappings between musical notes and the instrument timbre can be learned directly from the raw audio coupled with the musical score, in binary piano roll format.Our model requires minimal training data (9 minutes), is substantially better in quality and converges 6 times faster in comparison to strong baselines in the form of powerful text to speech models.The quality of the generated waveforms (generation accuracy) is sufficiently high,that they are almost identical to the ground truth.Our evaluations are based on both the RMSE of the Constant-Q transform, and mean opinion scores from human subjects.We validate our work using 7 distinct synthetic instrument timbres, real cello music and also provide visualizations and links to all generated audio.
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Grecu, Vasile. "The role of pianistic art in the musical culture of interwar Bessarabia in relation to the european intercultural process." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.08.

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In documents, we find data about the music schools that appeared in the first half of the 19th century, after Tudor Vladimirescu's Revolution, when the Romanian Lands experienced a period of national and cultural renaissance, while the history of culture marks the beginning of the modern era. With the opening of new educational institutions with a musical-artistic profile, the interest in studying the piano increases significantly, at the same time, the preoccupations for promoting the piano art were stimulated by foreign composers who, attracted by our ethnic music, capitalize on their creation. Towards the end of the last decade of the 19th century, the musical life in Bessarabia intensified, the buds of the national composition school appeared, which also brought the first works for the piano, made in the style and forms of Western schools and adapted to the local oral soundtrack, At the same time, there is a tendency to integrate the local musical art into the European artistic circuit.
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Xu, Dongyang. "The Role of Musical Hearing in Piano Performance." In 4th International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200316.036.

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"The Role of Musical Hearing in Piano Performance." In 2020 Conference on Educational Science and Educational Skills. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000599.

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"Research on the Role of Piano Accompaniment in Vocal Music Singing." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.240.

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Yang, Nan, and Mingyao Lu. "On the Role of the Piano Artistic Direction in Vocal Teaching." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.256.

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"Research on the Role of Piano Performance Skills in Music Emotions." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.044.

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"Study on the Important Role of Piano Accompaniment in the Performance of Ethnic Instruments." In 2018 International Conference on Culture, Literature, Arts & Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icclah.18.034.

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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.

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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.
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