There is a longstanding disconnect between mechanical models of the piano, in which key
velocity is the sole determinant of each note's sound, and the subjective experience of …

Pianists achieve extreme levels of virtuosity on their instrument, requiring a combination of
talent and decade-long continuous and deliberate practice, training, and experience. As with …

In this paper we present a new keyboard interface for computer music applications. Where
traditional keyboard controllers report the velocity of each key-press, our interface senses up …

The concept of touch in piano pedagogy is generally expressed through adjectival
descriptors often linked to imagination and abstraction. Such a metaphorically based …

ABSTRACT A concert pianist is able to produce a wide range of imaginable nuances of
musical expression by actuating the 88 keys on a piano, none of which travel through a …

Computer-generated musical performances are often criticised for being unable to match the
expressivity found in performances by humans. Much research has been conducted in the …

This paper addresses the question of how to extend the capabilities of a well-established
interface in a way that respects users' existing expertise. The piano-style keyboard is among …

Expression in musical practice is inextricably tied to the touch of the performer. In digital
musical instruments (DMIs) the relationship of touch to sound is indirect: the nuances and …

For pianists, touch is a corporeal tool that can be used not only to physically produce notes
on the piano, but to mediate their expressive intentions for the performed music. This paper …

Background Bartolomeo Cristofori is credited as the first to ap-ply a hammeraction to a
harpsichord, in 1709. Gradual changes to this mechanism have led to the setup shown in …