CITATION — REFERENCE ENTRY
Automatic page turning for musicians via real-time machine listening — Proceedings of the 18th European Conference on Artificial Intelligence (ECAI 2008)
- Key
- arzt2008-page-turning
- Authors
- Arzt, Andreas; Widmer, Gerhard; Dixon, Simon
- Issued
- 2008
- Type
- paper-conference
- Container
- Proceedings of the 18th European Conference on Artificial Intelligence (ECAI 2008)
Raw CSL JSON
{
"URL": "https://www.cp.jku.at/research/papers/Arzt_etal_ECAI_2008.pdf",
"type": "paper-conference",
"title": "Automatic page turning for musicians via real-time machine listening",
"author": [
{
"given": "Andreas",
"family": "Arzt"
},
{
"given": "Gerhard",
"family": "Widmer"
},
{
"given": "Simon",
"family": "Dixon"
}
],
"issued": {
"date-parts": [
[
2008
]
]
},
"event-place": "Patras, Greece",
"container-title": "Proceedings of the 18th European Conference on Artificial Intelligence (ECAI 2008)"
}
Claims
-
Arzt, Widmer, and Dixon built an automatic page turner that follows a live audio performance by aligning it on-line with audio synthesized from the score, extending Dixon's on-line dynamic time warping algorithm. The system aimed to work without a training phase and to cope with expressive tempo changes, repeats being taken or skipped, and performers' errors and restarts; in live tests with a pianist it worked reliably, even with errors and restarts.
"Our goal is to avoid this laborious training phase and develop a system that adapts to the musician currently playing without any training. [...] we first convert (a MIDI version of) the given score into a sound file, by using any available software synthesizer. [...] In the live tracking process, the incoming audio stream must be aligned, on-line, to the synthesized audio file. [...] The algorithm to be described here builds on a dynamic programming method first presented by S. Dixon [...]. Robustness against changes in tempo and timing [...] Robustness in the face of structural changes [...] the musician may choose to follow structural indications in the score (specifically, repeats), but may also decide to ignore repeated sections. [...] Error tolerance [...] In both tests the system worked very reliably, even in the presence of errors (and even some re-starts) by the pianist."
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