This paper explores composers’ approaches to composition, organising their work, and attitudes to the tools and technology. This qualitative naturalistic study involved in-depth interviews with four composers, and inductive data analysis. It concludes that individual differences have software implications, and a challenge for composition software designers therefore lies in the heterogeneity of...

Piano tones have partials whose frequencies are sharp relative to harmonic values. A listening test was conducted to determine the effect of inharmonicity on pitch for piano tones in the lowest three octaves of a piano. Nine real tones from the lowest three octaves of a piano were analyzed to obtain frequencies, relative amplitudes, and decay rates of their partials. Synthetic inharmonic tones ...

In this paper a mixed-paradigm piano model is presented. The major development is the ability of modeling longitudinal string vibrations. Longitudinal string motion is the reason for the metallic sound of low piano notes, therefore its modeling greatly improves the perceptual quality of synthesized piano sound. In this novel approach the transversal displacement of the string is computed by a f...

A system that generates flexible orchestral accompaniment of a computer-enabled piano is presented and demonstrated. We introduce a probabilistic model for the piano data that can be used for on-line and off-line estimation of the piano performance. The model is automatically trainable to the specific performer and piece under consideration. The on-line position estimates form the observable da...

This article introduces the Projective Orchestral Database (POD), a collection of MIDI scores composed of pairs linking piano scores to their corresponding orchestrations. To the best of our knowledge, this is the first database of its kind, which performs piano or orchestral prediction, but more importantly which tries to learn the correlations between piano and orchestral scores. Hence, we al...