User interfaces in music composition workstations have become cumbersome, especially as they require the use of multiple input devices, such as an electronic piano keyboard, a computer keyboard, and a mouse, repetitively during a composing task. Considering this, the goal of this work is to give the composer a more transparent interface which allows him to focus on the creative aspects of music composition.

    Novel and intuitive interfaces for music composition workstations can be designed by applying the findings and principles from the field of human computer interaction. One such design is the KEYed user interface, an ergonomic method for controlling music composition software from an electronic piano keyboard by adding a momentary foot pedal as a mode switch. Features for complex sound editing and control are integrated into the system; therefore, the user interface requires far fewer operations to achieve various music production tasks. This helps the composer focus on musical, rather than operational, issues.
    The results from experiments with the KEYed user interface show that composers are able to perform production tasks faster when compared to their performance with present user interface setups. Further, they experience enormous comfort, naturalness and intimacy when being engaged with the new interface. The piano keyboard mappings, combined with a single-point touchpad for performing multi-degree of freedom tasks, provide increased speed and intimacy with the controls for improving comfort, thereby enhancing the expressivity of the composer during composition.

Farhan Mohamed is a recent graduate from the Human Communications Technology (HCT) Laboratory (http://hct.ece.ubc.ca/), Department of Electrical and Computer Engineering, University of British Columbia, Vancouver, Canada. His specialization is in the field of Human Computer Interaction related to audio systems. His experience working with Dr. Sidney Fels at the HCT Labs includes music studio ergonomics, and haptic feedback mechanisms for live sound panning. Prior to his work at the HCT labs, he did music recording and mixing in various studios and live venues in Vancouver, Canada and India. Lately, he is involved in touring with bands in and around Vancouver performing bass.
 

From Peninsula/S.F. Airport/Silicon Valley (Hwy. 101 North) Take Vermont Street Exit. Make immediate left onto Vermont Street. Go 5 blocks and turn left onto Alameda Street. Three blocks up is Potrero Avenue. Dolby is the large, red, 3-story brick building on the corner of Potrero and Alameda.

From Bay Bridge (Hwy. 80 West) Take 9th Street/Civic Center exit. Go to the south onto Harrison Street. Follow Harrison to 10th Street. Turn left onto 10th Street and proceed under freeway overpass onto Potrero Avenue. Dolby is the large, red, 3-story brick building on the corner of Potrero and Alameda.

From Golden Gate Bridge (Hwy. 101 South) Cross Golden Gate Bridge, take the Lombard Street (Hwy. 101) Exit. Follow Hwy. 101 signs up Lombard to Van Ness Avenue. Turn right. Proceed on Van Ness to Fell Street and turn left. Proceed on Fell until it crosses Market Street and becomes 10th Street. Continue on 10th under freeway overpass and bear right onto Potrero Avenue. Dolby is the large, red, 3-story brick building on the corner of Potrero and Alameda.

Address:
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Intuitive Music Interfaces

Twenty-five people attended the September meeting of the San Francisco Section, held at Dolby Laboratories in San Francisco.

Farhan Mohamad described KEYed, a musical interface he and his colleagues are developing at University of British Columbia’s Human Communication Technologies Laboratory. Mr. Mohamad is a graduate student at UBC’s Department of Electrical and Computer Engineering, in Vancouver, Canada.

The usual set-up for music composition consists of a musical keyboard, a computer keyboard, a mouse, and a video display.

Music composers often complain of fatigue and frustration, caused by prolonged use of conventional musical interfaces. The counter-intuitive jump between computer keyboards for editing, and musical keyboards for composition, is a major source of difficulty.

Lack of intuitive feedback, while editing, is another problem. An easily misinterpreted image on a computer screen is the only indication of editing options.

KEYed is an ergonomic approach to music interfaces. A musical keyboard is used for both editing and composition. A momentary-contact footswitch changes the keyboard between modes.

While in editing mode, musical notes correspond to various editing options, further expanded by the use of a touch pad near the keyboard. Sounds produced by the computer provide feedback indicating which option is selected.

Preliminary testing with several music composers shows KEYed represents a considerable step forward in music interfaces. The interface is natural, and easy to use. Initial learning time is brief, usually around 15 minutes. Composers describe KEYed as “Intimate.”

A lively discussion followed Farhan Mohamad’s talk. The question was raised whether sliders, often found on musical keyboards, can be programmed to work like faders on an audio mixer. Another question concerned whether keyboard mapping, in editing mode, can be user-configurable. The answer to both questions was a resounding “Yes.”