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Christopher Graefe, Derek Wahila*, Justin Maguire, Orya Dasna
*1322 Wightman Street
Pittsburgh, PA 15217
(412)421-4158
derek@andrew.cmu.edu
Our goal was to create a product that reflected the culture and practice of symphony musicians. In order to understand fully the needs of the symphony musician, we observed, studied, researched, and interviewed members of the Pittsburgh Symphony Orchestra. The resulting product concept was the muse.
The muse facilitates the individual practice, group rehearsal, and formal performance
needs of symphony musicians. The muse consists of a portable digital display and
matching stand. The features of the muse include a metronome with audio and visual
feedback, a pitch-generating tuner, stylus-based on-screen annotation, inter-symphony
communication capabilities, a music library, and manual or automatic page turning with
indexing.
Given our decision to work with professional symphony musicians, we compiled the responses which were appropriate for that setting and developed a follow-up survey to send out to classical musicians who had responded to the first survey. We received approximately forty responses to this second survey which provided us with the perspectives of many different musicians and the seeds for many of the ideas we eventually incorporated into the muse. An even more beneficial outcome of the survey were the personal contacts we made, most significantly Harold Smoliar, the English Horn player for the Pittsburgh Symphony Orchestra (PSO).
We were very cautious in our initial dealings with the PSO. We anticipated much resistance from the symphony, whom we believed would be a "socially sophisticated and technophobic" audience. Although these stereotypes were quite strong and seemingly justified, they were wrong.
The PSO is a professional orchestra rooted in centuries-old traditions. We feared that
trying to change the methods and habits of these musicians might prove futile. We knew
that we needed to present our ideas to them with reserve and in incremental steps. If we
had brought a finished prototype to our first focus group, the group might have viewed us
as too forceful and close-mined. We did not have a predetermined solution before we
began this project, and we wanted to make sure the PSO understood that. Our design
process relied heavily on the musicians' input.
Expert Informant
Harold, our symphony contact, became an invaluable advisor. He answered our (almost
daily) barrage of questions, acted as a sounding-board for untested product ideas before
we presented them to a focus group, introduced us to visiting conductors and other PSO
musicians, and most importantly, arranged our many visits to Heinz Hall, the home of the
PSO.
Symphony Observations
By attending a number of rehearsals and performances at Heinz Hall, we began to
understand the routines and roles of the musicians and the conductor. We documented
these behaviors on video and later used them to pinpoint areas of communication
concerns between the conductor and musicians, musicians in the same section, or
musicians in different sections. Rehearsals were our first exposure to the symphony
"backstage." Understanding what musicians did with their music when they were not on
stage was equally as important since the muse would replace their printed music in all
situations. We needed to thoroughly understand the environment before we could design a
suitable product for our intended audience.
Interviews with Others
In addition to our meetings with the PSO musicians, we spoke with music students on the
Carnegie Mellon campus and faculty in the music and computer science departments.
Specifically, we consulted with a Computer Science faculty member to discuss the
feasibility of the technology we intended to use. He critiqued the methods and hardware
we were proposing and offered some alternate methods which were adopted. Although
the PSO was our audience, we utilized other resources which could provide technical
feedback and opinions on the functionality of the muse.
Communications on the Stage
We could see that communication problems existed once the rehearsal began. The
orchestra's apparent lack of organization and order while "tuning up" before the maestro
arrived on stage was unexpected -- a significant contrast to a symphony performance.
Often the maestro would have trouble conveying which note in the score he was referring
to. Several times when musicians tried to describe something to him communication broke
down.
When a musician has a concern, that musician consults a peer, the first chair of the section, or the conductor. While speaking with a "neighbor," it is common for the musician to rotate their own stand and point at the music in question. When the communication spans the stage, such as to the conductor, it is impossible to indicate where the area of concern is on the printed music -- it must be described verbally. This in turn causes problems of audibility. For instance, when the first chair violin gives a directive to the violin section, the musicians sitting in the last row often have difficulty hearing them. All of these competing conversations and communications create a complex web of interactions among musicians on the stage.
Annotation
Annotation is a large part of the symphony rehearsal: Musicians make notes on their
printed music based on personal observations or feedback from their first chair,
conductor, or peers. Musicians also mark up their music in practice, but only with notes
specific to their needs.
Page Turning
While musicians in some sections of the symphony have the luxury of individual music
stands, string musicians must share stands. When two musicians share a stand, the
individual sitting on the inside of the orchestra (away from the audience) must turn the
page. In most cases, a page break occurs during a rest for the particular instrument. When
it is does not, the musician who is required to turn the page must stop playing. Thus, in a
performance, page turning actually results in perceptible "dips" in the music's volume. In
rehearsal, page turns may occur in both directions since the conductor may choose to
focus on a part of the composition and rehearse it over and over. We needed to address
both types of page turning.
Tuning
Whether for a rehearsal or performance, each time a musician comes on to stage, they tune
their instruments. Different symphonies tune to different A pitches. The most common
pitch used is the 'concert A' (440 Hertz). Some symphonies tune to A444 or even A415.
This discrepancy is not common, but without it, the muse would be unusable to some
symphonies.
Music Management
We discussed with the Heinz Hall music librarians the problems associated with current
methods of music distribution. Only a few musical scores are not copyrighted -- it is
those pieces that PSO owns and can to play free of charge. We learned that the majority
of the music the symphony plays is laden with copyrights. For pieces that the
Symphony rents, there are performance licensing terms. The terms of the rental contract
depend on whom the symphony is performing the piece for, as well as, the percentage of
the composition that they will be playing.
Functionality
After reviewing the information gathered, we decided on the "tools" and functions to
include in the muse: (1) Musicians were delighted with the prospect of eliminating manual
page turning from the symphony performance and letting the muse control it. However,
page turning still needed to be under the musician's control, since automatic page turning
would not be helpful in all rehearsal situations. (2) Since musicians are constantly writing
on their scores, we wanted to provide a function for annotation --Êone that allowed for the
marks from the conductor and first chair of each section could be distributed to the rest of
the symphony, eliminating the arduous task of copying notations by hand. (3) Nearly
every musician owned a metronome and a tuner. Including these devices in the muse
would reduce the number of devices musicians carried onto stage. This feature could be
integrated with other muse functions like annotated tempo changes. (4) A method was
needed for musicians to access other instruments' parts and allow them to view select
parts of the entire symphonic score as the piece is played -- creating a redundant system
of cueing. (5) By including a library tool, musicians would be able to download music
from the Heinz Hall Collection, store it locally, and display it on the muse.
In addition to these functions, we needed an area reserved for setting preferences that controlled how the features of the muse behaved for each musician (such as the size of music displayed, the tonal range of each instrument, page turning settings, etc.).
Enabling Technologies
Batteries
The muse had to be able to operate at locations outside of Heinz Hall, such as, at other
music halls or at home. Batteries were necessary to afford this portability. Because it
would be impractical for a musician to carry the stand around with the display each time
they moved, the display must be able to run independent of the base. Hence, the display
needed its own power supply. These battery requirements impacted the industrial design,
so it was important to identify these needs and find solutions early in the design process.
We researched compact rechargeable batteries with long-lasting power and a short
recharge time which matched our needs.
Wireless
In order for the muse to receive music from the Heinz Hall Collection, some sort of data
communication must be possible. To avoid wires strung around the stage during a
rehearsal or performance which would impede musicians walking on stage, wireless
connections would be used. This network would increase security and prevent potential
copying of musical scores through the use of data compression and encryption.
Microphones
To include a tuner and automatic page turning in the muse we needed a small, accurate
microphone with low power consumption. When a musician is using the tuner to tune an
instrument during rehearsal, the microphone must discern that instrument's tones from
those of the surrounding instruments.
Software
In the early stages of the design process, it was necessary to confirm that we were not
replicating any existing products. Speaking to personal computer software distributors,
we discovered products that support arrangement and notation of music, and allow for
electronic composition and publishing of music. We realized that much of the current
technology could be used in our product. One package's scanning ability could be used by
music distributors to transform sheet music into digital form, and a derivative of
Vivace's[1] real-time accompaniment technology could be used to facilitate automatic page
turning.
As we learned more about symphony musicians, our initial concepts changed, along with the features of the product. We first believed that classical symphony musicians would be resistant to change -- that they would not be interested in the advantages that the muse had to offer.
First Iteration
The first designs showed our initial hesitation to break away from convention. The stand
still reflected the traditional music stand, and the interface widgets visually mimicked
conventional devices. While we were exploring new ideas and approaches we tended to
keep looking to the past for inspiration and guidance.
Industrial Design
Our first step was to build a display sketch model to understand better the scale that we
were proposing. We decided early in the process to use screen sizes of 9 by 12 inches per
page (see Figure 1) -- slightly larger than the
conventional printed music that the PSO uses. Since this is a rather large finished size and
we wanted the display portion to be portable, it needed to fold in half.
Our first stands (see Figure 2) were part of a series of semantic studies to see how we could improve on the traditional music stand. The issues that we were concerned with were mobility, flexibility, weight, location of the power source, and how the stand would support the display.
Interface
We began prototyping the interface with only two tools: the tuner and the metronome.
We believed that using a metronome modeled after a conventional metronome would be a
logical extension of the musicians' knowledge (see Figure
3). For similar reasons, we modeled the tuner design after a conventional analog
tuner (see Figure 4). Again, we planned to use the
musicians' familiarity with a physical tool to teach them how to use a digital tool.
Feedback
We presented the first iteration informally to PSO musicians, CMU faculty, and
students. From responses to the presentations, we learned that digital metronomes were
used instead of the analog type we had modeled our interface after. The tuner was
described as awkward and visually confusing, almost more of a display then a tool for
tuning. The symphony musicians commented that the bases for the stand were too long
and potentially obtrusive for some musicians such as the harpist or basist (see Figure 5).
Second Iteration
After reevaluating our interface designs, we noticed that they seemed very disjointed from
the industrial design of the product. Furthermore, as we tried to design tools such as the
library that could not be represented as literal as a tuner and a metronome, we realized
that the metaphors we were clinging to could potentially confuse the musicians and create
uglier, jumbled screens.
Industrial Design
Realizing that the stand would be sharing the stage with million dollar instruments, we
experimented with more graceful forms and materials that reflected those in the
instruments on stage. Mahogany, aluminum, and steel became our materials of choice, and
the form began to diverge from the conventional look of a music stand. Creating a wooden
support arm that came out of the base not only gave the shaft more support, but allowed
a beautiful contrast of materials. In addition, we refined ideas about where the power
sources within the stand and display should be placed and how they would work together
(see Figure 6).
Interface
As the industrial design progressed, we were very intrigued by its graceful form. We
experimented with bent steel for the tube that supported the stand. Inspired by the basic
form and gesture of the industrial design, we returned to the drawing board and generated
new sketches of the interface tools.
We found that by trading the metaphors we had been working with for a new, nonrepresentational design language and a limited color palette, we were able to design the tools with a cohesive form language that reflected the industrial design and worked together as a family. Each tool had a linear element that surrounded areas of colors (see Figure 7, Figure 8, Figure 9 for examples). The functionality of each tool was contained in the colored area, with different colors establishing a hierarchy within each tool. By keeping the tools simple, all the interactions with the muse could be achieved through a small set of interface widgets.
The challenge we faced in designing these tools was how to lead the musicians through the information space effectively. This was extremely difficult in the library tool, where there are potentially two libraries displayed at once and music needs to be moved from one collection to the other. To solve this issue, we employed the notion of progressive disclosure, first displaying the local library and then after an additional action by the musician, revealing the symphony's collection. Despite these challenges, we were able to communicate our intentions and the tools' functionality through scaleable interface elements.
Feedback
When we presented the second iteration prototype to a focus group of ten symphony
musicians, we received positive feedback concerning both the industrial design and the
interface. They felt the selection of tools was appropriate and including devices like the
tuner and metronome would reduce stage clutter if they were integrated into a single
device. However, the musicians still had some concerns. They felt that the microphone
was too far away to pick up the sound of an instrument, especially in a loud rehearsal.
Many shared ideas about alternative ways to navigate manually through the music. The
musicians also felt that navigation in the music should be facilitated by adding functions
to reduce the possibility of "getting lost" during a rehearsal or performance: Certain pages
could be marked, a small screen could display the previous page, or a moving staff might
show the measure being played.
Despite the musicians' positive feedback, we were careful not to implement any of their
ideas without careful consideration. After analyzing their suggestions and compiling our
own observations we began the final iteration. Simplicity was the key to making sure that
all musicians could use the product without difficulty, and this drove our final design.
Interface Features
Automatic Page Turning
To facilitate a symphony performance, the muse listens to the musician and is constantly
aware of that musician's location within the music being played. The musician sets a
position on the page that, when reached, cues the muse to turn the page. The pages are
replaced individually, first on the left, and then on the right -- so there is never a break in
the music. This eliminates the need for the musician to stop playing and interrupt
concentration; the page turn is automatic. Alternatively, the musician can use a manual
method to turn pages through two buttons located on the top corners of the display.
These buttons turn one page forward or backwards when pressed with a hand, bow, or
other device.
Annotation
The musicians can mark up their music using the touch sensitive display and stylus. In
addition to seeing their own markings, musicians can view the markings distributed across
the orchestra by the conductor or the first chair of their section. This saves musicians the
time and labor of copying the notation of several different people onto their own music. It
also grants musicians the ability, during practice, to start with a "clean slate" by turning
off all of their markings and focus on the music without any interpretations.
By allowing immediate annotation from a first chair or conductor to the musicians, a number of the communication problems normally associated with a symphony rehearsal can be alleviated. By sending the markings electronically, there is no confusion with the changes or to what they apply.
Metronome
The metronome (see Figure 11) allows musicians to set
tempos and preview them as sound clicks or a blinking light during practice and rehearsal.
The metronome can be used to place multiple tempos in the score where the beat changes,
so the feedback from the muse can automatically adjust as the musician plays the piece.
This feedback can be turned on and off without deleting the tempo settings.
Tuner
The tuner (see Figure 12) allows a musician to select a
note in an instrument's range for tuning. The musician's instrument is set in the
preferences menu of the muse, so that the appropriate scale is displayed for the musician
to choose from. After the musician selects the desired note (generally the concert A), the
tuner will play that pitch for the musician to match. As the musician plays the tone, the
muse listens to the instrument and displays how sharp or flat the note is. Once the pitch
matches the muse's tone, the tuner is automatically closed so the musician can
immediately begin playing without having to release the instrument.
Views
The views feature gives musicians access to the parts of any other instrument in a given
score. This allows musicians to see their location in the score in relation to other
instruments that they may be listening to for cues -- it gives them a visual cue in addition
to an audio one. The pages are then repaginated on the muse to reflect the new staff(s) of
music added to the display and will turn accordingly with automatic progression.
Library
Music is downloaded to the muse via wireless communication from the symphony's
digital music library. Because of strict copyright laws surrounding music distribution and
performance, permission would still need to be granted by the music librarians for
personal requests. Musicians would have the ability to sort through the symphony
library by composer, title, or performance date (see Figure
13). After selecting a piece, a musician can download it to the personal collection on
the hard drive in the muse, which has the capability to store 100 pieces of music. If the
piece has certain copyright restrictions, the musician may have to wait for the request to
be processed by one of the music librarians. Once downloaded to the muse, any of the
music can be selected for display.
Preferences
Every muse can be customized through preferences to meet the needs of individual
musicians. The preferences include the musician's name, symphony name, instrument,
page turning options, size of music displayed, etc. Once these preferences are set, their
values affect the other six functions of the muse, allowing it to work with any musician
playing any instrument.
Notes
When the musician turns on the muse, a screen displays that musician's name, instrument,
and orchestra. Layered on top of this text are personal notes and important symphony
announcements from the personnel manager and symphony staff. After reading the notes
the musician can close them by tapping on them with the stylus. These notes
complement or replace the verbal announcements made at the start of every symphony
rehearsal.
By maintaining cohesive industrial and interface designs, accompanied by a strategic
design process, we were able to introduce new technology to, and spark the imagination
of, the Pittsburgh Symphony Orchestra.
