Recent research has shown that music training enhances music-related sensorimotor associations, such as the relationship between a key press on the keyboard and its associated musical pitch (auditory feedback). Such results suggest that the role of auditory feedback in performance may be based on learned associations that are task specific. Here, results from various studies will be presented t...

OBJECTIVE To examine how auditory brain responses change with increased spectral complexity of sounds in musicians and non-musicians. METHODS Event-related potentials (ERPs) and fields (ERFs) to binaural piano tones were measured in musicians and non-musicians. The stimuli were C4 piano tones and a pure sine tone of the C4 fundamental frequency (f0). The first piano tone contained f0 and the ...

One of the most critical elements in musical instrument education is selection appropriate method. Many parameters are taken into consideration method (the student's age, his/her physical features, ability, etc.). The accuracy depends on teaching instructor. It simply impossible to have only one accurate that applicable for everyone and every context. purpose methods develop technical capabilit...

UNLABELLED Although only recently described, Colletotrichum boninense is well established in literature as an anthracnose pathogen or endophyte of a diverse range of host plants worldwide. It is especially prominent on members of Amaryllidaceae, Orchidaceae, Proteaceae and Solanaceae. Reports from literature and preliminary studies using ITS sequence data indicated that C. boninense represents ...

Audiovisual perception and imitation are essential for musical learning and skill acquisition. We compared professional pianists to musically naive controls with fMRI while observing piano playing finger-hand movements and serial finger-thumb opposition movements both with and without synchronous piano sound. Pianists showed stronger activations within a fronto-parieto-temporal network while ob...

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...

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 ...

As reported in the recent literature on piano performance, an emphasized voice (the melody) tends to be played not only louder than the other voices, but also about 30 ms earlier (melody lead). It remains unclear whether pianists deliberately apply melody lead to separate different voices, or whether it occurs because the melody is played louder (velocity artifact). The velocity artifact explan...

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...