PERSONAL COMPUTER AS A MUSIC TOOL WITH PARALEL PORT AS INPUT

2018 ◽  
Author(s):  
Itut Dian Setyawijaya

Musical Instrument Digital Interface is a universally accepted standard for exchanging information about digital music playing. Computers with Windows 98SE support MIDI commands via Windows API (Application Programming InterfaceI). The computer has a parallel port. Because of that situation, the Windows 98SE operating system computer can be used with musical instruments with parallel ports as input. To be able to do this the method used using Delphi software as a link between parallel ports and Windows API. From the test results, the soundcard is able to produce a monophonic tone of the piano with keystrokes on the input (parallel port).Musical Instrument Digital Interface merupakan standar yang diterima secara universal untuk pertukaran informasi tentang permainan musik secara digital Komputer dengan Windows 98SE mendukung perintah-perintah MIDI lewat Windows API (Application Programming InterfaceI). Komputer memiliki port paralel. Karena situasi itu, komputer sistem operasi Windows 98SE dapat digunakan alat musik dengan port paralel sebagai input. Untuk dapat melakukan hal tersebut metode yang dipakai menggunakan software Delphi sebagai penghubung antara port paralel dengan Windows API. Dari hasil pengujian, soundcard mampu menghasilkan nada monophonic piano dengan penekanan tombol pada input (port paralel).

2020 ◽  
Vol 19 (3) ◽  
pp. 255-266
Author(s):  
Sean Groten

Digital technologies and Musical Instrument Digital Interface-sampled instruments have emerged as one of the most significant technological shifts in musical consciousness in western society. Digital music has introduced new epistemologies of music as it raises questions of authorship and creativity, while also challenging the ontological presumptions about what it means to be a musician. Through interviewing the sample by applying various posthuman heuristics, I explore my own relationship to digital music samples and sampling technology as a composer and musician. I engage in a phenomenological inquiry that surveys the various ways the sample affects my ecological milieu of music-making, and more broadly, I explore how a musician is at all times enacting an intra/actional relationship as negotiated between themselves and their instrument.


Orfeu ◽  
2021 ◽  
Vol 6 (1) ◽  
pp. 01-31
Author(s):  
Luciana Hamond ◽  
Evangelos Himonides ◽  
Graham Welch

O objetivo da presente pesquisa foi investigar a natureza do feedback quando um sistema de tecnologia digital foi aplicado em aulas de piano com três duplas de professores e alunos no ensino superior no Brasil. Os dados foram coletados por meio de observações de aulas registradas em vídeo, entrevistas com os participantes e também dados relacionados ao uso de uma tecnologia específica. Uma análise temática dos dados resultantes sugere que os participantes usaram feedback verbal e feedback não verbal em três áreas de foco da aula: música (partitura), performance (por exemplo, dinâmica, articulação) e tecnologia (parâmetros de Musical Instrument Digital Interface [MIDI]). A aplicação da tecnologia permitiu que o foco da aula ficasse mais claro, tornando os alunos mais conscientes de suas performances e de seus processos de aprendizagem. Os dados sugerem que o engajamento com a tecnologia variou nos três casos observados. O uso do feedback mediado pela tecnologia parece ter benefícios; isso pode, por sua vez, otimizar as abordagens pedagógicas mais tradicionais no ensino e aprendizagem de piano no ensino superior e também enriquecer o estudo individual.


2006 ◽  
Vol 120 (5) ◽  
pp. 3074-3074
Author(s):  
Takuya Niikawa ◽  
Ryosuke Kawachi ◽  
Kotaro Minato ◽  
Tatsuo Yoshihara ◽  
Naoya Terayama

Sign in / Sign up

Export Citation Format

Share Document