Pardue Laurel S, McPherson Andrew
Augmented Instruments Laboratory, Centre for Digital Music, Queen Mary University of London, Electrical Engineering & Computer Science, London, United Kingdom.
Front Psychol. 2019 Apr 2;10:627. doi: 10.3389/fpsyg.2019.00627. eCollection 2019.
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 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.
对于弦乐演奏者来说,运用正确的音准是主要挑战之一。演奏者必须学会如何通过身体动作再现目标音高,但在此之前,演奏者必须先了解什么是正确的音准。这需要内心听觉——视觉化的听觉等效物——对每个音符进行感知,并自我评估所奏出的音高是否与目标音高相符,如果不符,应采取何种行动来纠正。成功学习的一个挑战在于,大部分学习过程发生在练习期间,通常没有外部监督。一个尚未学会辨别正确音准的学生可能会反复练习走音,轻率地将坏习惯和不良音准常态化。音准的实时反思性质及其对注意力的持续要求使其成为技术干预的理想目标。我们使用一把经过改装的小提琴,将指板传感器与音频分析相结合以进行实时音高检测,研究了三种实时反馈方法对改善音准和音高学习的效果。第一种是实时跟随学生的音准引导音高形式的听觉反馈,它受到学生与教师一起演奏的传统启发。第二种是使用针对正常练习进行优化的算法,提供关于音准正确性的视觉反馈。第三种是将这两种方法结合起来,同时提供听觉和视觉反馈。十二名初学长笛的人,包括儿童和成年人,接受了四节20至30分钟的课程。每节课使用一种音准反馈方法,还有一节不使用反馈的对照课。我们收集了音准准确性的数据,并就学生的体验和偏好进行了访谈。结果因演奏者而异,有证据表明一些演奏者从反馈方法中得到了帮助,但也有反馈分散注意力导致音准变差的情况。然而,访谈表明学生对在练习期间使用此类工具帮助学习有着浓厚的兴趣和潜力,结果还表明学会使用实时听觉和视觉反馈需要时间。两种反馈方法都显示出在个人练习中辅助自我反思的潜力。