The ability to synchronise is a hallmark of professional music-making. Such synchronisation, without a conductor, is achievable by timing error correction, either through phase correction (Wing et al., 2014) or period correction (by adjusting the …
We present a plug-in for music production software (i.e., digital audio workstations) that simulates musicians synchronizing to other musicians, either virtual or controlled by users. Notes of the parts controlled by users are played according to …
Detection of note onsets in string instruments is still a major challenge in music signal processing. Previously, we used the annotations of four musicians (based on the Hayden Op74 finale, normal speed, repetition 12, bar 1-49s) to define the …
When musicians play in ensemble, they continuously adapt to each other to ensure that the group keeps time together. This adaptation can be captured by a linear phase correction model, representing how they adjust to one another. The Augmented …
Interpersonal timing is important for creating a cohesive music performance in small ensembles without a conductor. Wing et al. (2014) proposed that phase correction underlies ensemble timing in classical quartet performance. They described two …
When musicians play in ensemble, they continuously adapt to each other to ensure that the group keeps time together. The musicians’ timing correction can be captured by a linear phase correction model, where each player has a correction gain to other …
The Linear Phase Correction Model of musical ensemble (LPC) (Wing et al., 2014) suggests each player in a string quartet corrects the timing of the next note as a proportion of the asynchronies with the other three players on the previous note. In …
Interpersonal timing is important for creating a cohesive music performance in small ensembles without a conductor. Wing et al. (2014) proposed that phase correction underlies ensemble timing in classical string quartets. Correction gains for the …