Two-step input method
Before playing the Coloring-in Piano , it is necessary to enter the sequence of MIDI note-numbers (corresponding to pitches) of the piece to be performed into the music-database. Then, the expressive elements for the piece, i.e., the velocity and the onset/offset time data, are input with Coloring-in Piano by using the sequence of pitches input in the first step. Finally, the performance obtained by integrating the expressions input by CiP with the sequence of the pitches is recorded by using XGworks 4.0. We call this method "two-step input method."
Experiment 1. Is the initial barrier of Coloring-in Piano low?
Compose MIDI sequence data by two-step input method and conventional methods
We conducted experiments using subjects as performers to compare the two-step input method with the two conventional input methods, realtime input method and step-by-step input method. We employed eighteen subjects who are students at an undergraduate institution as well as our graduate school. The subjects were asked to input "Akatonbo," which is a very famous Japanese children's song, by the three methods.
Each subject provided a subjective evaluation for each method after composing the sequence MIDI data by all of the methods. The subjects evaluated the degree of satisfaction with each of the composed sequence data and the difficulty of inputting four elements, i.e., melody, rhythm, Agogik, and Dynamik, by each method. Additionally, the subjects were asked about their experience in playing musical instruments and making MIDI data.
The results of ANOVA indicated an evident tendency of the two-step input method to be easier than the real-time input method and the step-by-step input method. Furthermore, most of the subjects were more satisfied with the sequence MIDI data composed with the two-step input method than that composed with the two conventional methods.
Experienced performer composed MIDI sequence data by using Coloring-in Piano
["Sonata No.3" by F. Chopin]
realtime(before practice)
|
|
realtime(after practice)
|
|
two-step(after practice)
|
|
The performer has played the piano for 25 years. However, she never played this piece on the piano. At first, she got 5 minutes for reading a score of this piece. Then, she recorded the MIDI sequence data of this piece by the realtime input method. After that, she practiced the piece on 10 minutes on the conventional piano. Then, she recorded the MIDI sequence data of this piece again by the realtime input method and the two-step input method successively.
Experiment 2. Does Coloring-in Piano have equivalent potential for expression to the conventional piano?
Evaluate MIDI sequence data composed by two-step input method and realtime input method
["Grande Polonaise Brillante Op. 22" by F. Chopin]
realtime
|
|
2step-1
|
|
2step-2
|
|
2step-5
|
|
Twenty experimental subjects evaluated MIDI sequence data composed by two-step input method and realtime input method. C. Oshima, who is one of the authors, composed parts of two pieces by two-step input method and realtime input method. In the case of the second step of the two-step input method, three ways of composing were tried, e.g., using only one finger for one key performance (2step-1), using only two fingers for two-key performance (2step-2), and using five fingers for all-key performance (2step-5).
We asked the subjects to evaluate each of the MIDI sequence data from the perspective of whether it is musical. Moreover, we asked them to evaluate the degrees of resemblance between the 2step-1, 2, and 5 MIDI sequence data and the MIDI sequence data composed by the realtime input method.
The results of a t-test indicate that the musicality of 2step-1 performance is significantly worse than that of the conventional piano performance for both pieces. Moreover, the results of the t-test indicate that 2step-5 MIDI sequence data is more musical than the MIDI sequence data composed by the realtime input method for one of the piece .
Experiment 3. Does Coloring-in Piano have space for development?
Inexperienced performer composed MIDI sequence data by using Coloring-in Piano
["Waltz Op.69-2" by F. Chopin]
The first performance
|
|
The 13th performance
|
|
The performer has taken lessons of electronic organ for one year when he was an elementary school student, but he cannot play a piano well. He can read score. He had never listened to this piece. As soon as he read the score, he composed MIDI sequence data by two-step input method. After that, he practiced this piece for 13 times as the second step of the two-step input method. Because he was satisfied with 13th performance, we finished this experiment.
The 13th performance got the 4th place at "RenCon (performance
RENdering piano CONcours)."