This paper presents two low-cost, real-time methods for performance tracking on the violin. Low-latency pitch detection is achieved by using finger position measurements from a resistive fingerboard to inform audio analysis; the combination outperforming audio-only methods. Bow position and pressure are tracked using four optical reflectance sensors placed on the bow stick, allowing the displacement of the hair to be measured under the force of the string. Both sensor arrangements for this system can be fitted to existing violins without damaging the instrument. A case study demonstrating the utility of these techniques is presented finding fingered and bowed note onsets during performance.

Abstract-We present DoppelLab, an immersive sensor data browser built on a 3-d game engine. DoppelLab unifies independent sensor networks and data sources within the spatial framework of a building. Animated visualizations and sonifications serve as representations of realtime data within the virtual space.

This paper describes the development of a musical interface based on electromagnetic tagging technology, where an ensemble of passively tagged objects is identified and tracked in real time when placed in the vicinity of a reader. As the system is able to identify and update the state of many (30 or more) tags simultaneously, they can be used together in any combination -e.g., several can sit on a surface at fixed distances from the reader while others can be handheld or worn by a single user or multiple performers. This interface is able to detect both free gesture (position and orientation of the objects) as well as local or tactile variables (e.g., pressure). We describe a series of controllers that exploit the musical possibilities of this architecture -the somewhat constrained Musical Trinkets, where objects were tied to simple notes and musical effects, and its successor, the Musical Navigatrics, which enabled dynamic overdubbing and control of complex musical sequences and sonic textures. We close with a description of a very simple and inexpensive actively-tagged tracking system capable of much wider range.

Playing with correct intonation is one of the major challenges for a string player. A player must learn how to physically reproduce a target pitch, but before that, the player must learn what correct intonation is. This requires audiation- the aural equivalent of visualization- of every note along with self-assessment whether the pitch played matches the target, and if not, what action should be taken to correct it. A challenge for successful learning is that much of it occurs during practice, typically without outside supervision. A student who has not yet learned to hear correct intonation may repeatedly practice out of tune, blithely normalizing bad habits and bad intonation. The real-time reflective nature of intonation and its consistent demand on attention make it a ripe target for technological intervention. Using a violin augmented to combine fingerboard sensors with audio analysis for real-time pitch detection, we examine the efficacy of three methods of real-time feedback for improving intonation and pitch learning. The first, aural feedback in the form of an in-tune guide pitch following the student in real-time, is inspired by the tradition of students playing along with teachers. The second is visual feedback on intonation correctness using an algorithm optimized for use throughout normal practice. The third is a combination of the two methods, simultaneously providing aural and visual feedback. Twelve beginning violinists, including children and adults, were given four in-situ 20–30 min lessons. Each lesson used one of the intonation feedback methods, along with a control lesson using no feedback. We collected data on intonation accuracy and conducted interviews on student experience and preference. The results varied by player, with evidence of some players being helped by the feedback methods but also cases where the feedback was distracting and intonation suffered. However interviews suggested a high level of interest and potential in having such tools to help during practice, and results also suggested that it takes time to learn to use the real-time aural and visual feedback. Both methods of feedback demonstrate potential for assisting self-reflection during individual practice.

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