Subjective Assessment of Upright Piano Key Vibrations

Keane, Martin; Dodd, George

doi:10.3813/aaa.918450

Cited by 14 publications

(16 citation statements)

References 7 publications

(7 reference statements)

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“…Similar tonal components were observed across the two piano types, but upright pianos showed a stronger broadband component, which could explain the generally lower perceived quality of upright versus grand pianos. In fact, a later study showed that pianists preferred the tone quality and loudness profile of an upright piano with attenuated broadband vibrations [39].…”

Section: Vibrations In the Acoustic Pianomentioning

confidence: 99%

The Role of Haptic Cues in Musical Instrument Quality Perception

Saitis¹,

Järveläinen²,

Fritz³

2018

Springer Series on Touch and Haptic Systems

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We draw from recent research in violin quality evaluation and piano performance to examine whether the vibrotactile sensation felt when playing a musical instrument can have a perceptual effect on its judged quality from the perspective of the musician. Because of their respective sound production mechanisms, the violin and the piano offer unique example cases and diverse scenarios to study tactile aspects of musical interaction. Both violinists and pianists experience rich haptic feedback, but the former experience vibrations at more bodily parts than the latter. We observe that the vibrotactile component of the haptic feedback during playing, both for the violin and the piano, provides an important part of the integrated sensory information that the musician experiences when interacting with the instrument. In particular, the most recent studies illustrate that vibrations felt at the fingertips (left hand only for the violinist) can lead to an increase in perceived sound loudness and richness, suggesting the potential for more research in this direction. IntroductionPracticing a musical instrument is a rich multisensory experience. As explained in Chap. 2, the instrument and player form a complex system of sensory-motor interactions where the sensory feedback provided by the instrument as a response to a playing action

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Section: Vibrations In the Acoustic Pianomentioning

confidence: 99%

The Role of Haptic Cues in Musical Instrument Quality Perception

Saitis¹,

Järveläinen²,

Fritz³

2018

Springer Series on Touch and Haptic Systems

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“…In traditional musical instruments, the tactile and kinaesthetic feedback coming from the resonating parts of the instrument give the performer important information about their interaction [1,20,28,43] (see Chap. 2).…”

Section: Haptic Feedback In Music Technologymentioning

confidence: 99%

Design of Vibrotactile Feedback and Stimulation for Music Performance

Giordano

Sullivan

Wanderley

2018

Springer Series on Touch and Haptic Systems

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Haptics, and specifically vibrotactile-augmented interfaces, have been the object of much research in the music technology domain: In the last few decades, many musical haptic interfaces have been designed and used to teach, perform, and compose music. The investigation of the design of meaningful ways to convey musical information via the sense of touch is a paramount step toward achieving truly transparent haptic-augmented interfaces for music performance and practice, and in this chapter we present our recent work in this context. We start by defining a model for haptic-augmented interfaces for music, and a taxonomy of vibrotactile feedback and stimulation, which we use to categorize a brief literature review on the topic. We then present the design and evaluation of a haptic language of cues in the form of tactile icons delivered via vibrotactile-equipped wearable garments. This language constitutes the base of a "wearable score" used in music performance and practice. We provide design guidelines for our tactile icons and user-based evaluations to assess their effectiveness in delivering musical information and report on the system's implementation in a live musical performance.

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“…In a subsequent experiment [5], a modified upright piano was built using materials with higher mechanical impedance, reducing the broadband component of the key vibrations. Results showed that pianist rated the modified piano better than an original one, but their remarks focused on improvements in the loudness and tone of the sound (which were measured to be equal in both pianos), while no comments were made about the vibration sensation.…”

Section: Motivationsmentioning

confidence: 99%

“…Notch filter at 492Hz 2 Notch filter at 197Hz and 738Hz 3 Notch filter at 492Hz and 738Hz 4 Notch filter at 197Hz, 492Hz and 738Hz String 5 1 Notch filter at 109Hz 2 Notch filter at 109Hz applied three times 3 Notch filter at 548Hz 4 Notch filter at 109Hz, 548Hz and 659Hz Using the accelerometer and a National Instruments USB-4431 acquisition card 5 we recorded the vibration produced by the plucking of a string using a pick. Two strings were selected, the second (tuned at B 3 , 246.94Hz) and the fifth (tuned at A 2 , 110Hz) and four takes of each were recorded at 48000Hz sampling rate.…”

Section: String 2mentioning

confidence: 99%

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Measuring the haptic behavior of an acoustic guitar as perceived by the player by means of a vibrating actuator

Giordano¹,

Wanderley²

2013

Proceedings of Meetings on Acoustics

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Two sets of recordings of the vibration produced by plucking the fifth and the second string of an acoustic guitar were acquired using an accelerometer secured to the neck of the instrument. These vibrations were reproduced using a recoil-type vibrating actuator attached at the neck of the guitar. In one of the sets, spectral features of the original recordings were altered. We performed a preliminary study involving nine participants, blindfolded and deafened using earplugs and white noise. They were asked to discriminate, by holding the neck of the instrument with their left hand, between "fake" (actuator-produced) or real vibrations, produced by the experimenter plucking either string two or five. Our aim was to assess if any of the spectral features altered in the second set of recordings increased the recognition rate of actuator-produced vibrations as being "fake". These features, if present, would then be likely to carry crucial information and should be therefore modeled with extreme care in the simulation of the haptic behavior of the instrument. Results show that, at least for string five, we identified one feature (a spectral peak at 548Hz) which, if altered, made the recognition rate as "fake" rise, statistically significantly, from 55% to 89%.

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Subjective Assessment of Upright Piano Key Vibrations

Cited by 14 publications

References 7 publications

The Role of Haptic Cues in Musical Instrument Quality Perception

The Role of Haptic Cues in Musical Instrument Quality Perception

Design of Vibrotactile Feedback and Stimulation for Music Performance

Measuring the haptic behavior of an acoustic guitar as perceived by the player by means of a vibrating actuator

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