This post documents my final project for User Experience Design with June Ahn
Overview of the problem
The aQWERTYon is a web-based music performance and theory learning interface designed by the NYU Music Experience Design Lab. The name is a play on “QWERTY accordion.” The aQWERTYon invites novices to improvise and compose using a variety of scales and chords normally available only to advanced musicians. Notes map onto the computer keyboard such that the rows play scales and the columns play chords. The user can not play any wrong notes, which encourages free and playful exploration. The aQWERTYon has a variety of instrument sounds to choose from, and it can also act as a standard MIDI controller for digital audio workstations (DAWs) like GarageBand, Logic, and Ableton Live. As of this writing, there have been aQWERTYon 32,000 sessions.
Since its launch, you’ve been able to export your Groove Pizza beats as WAV files, or continue working on them in Soundtrap. But now, thanks to MusEDLab developer Jordana Bombi, you can also save your beats as MIDI files as well.
You can bring these MIDI files into your music production software tool of choice: Ableton Live, Logic, Pro Tools, whatever. How cool is that?
There are a few limitations at the moment: your beats will be rendered in 4/4 time, regardless of how many slices your pizza has. You can always set the right time signature after you bring the MIDI into your production software. Also, your grooves will export with no swing–you’ll need to reinstate that in your software as well.
We have some more enhancements in the pipeline, aside from fixing the limitations just mentioned. We’re working on a “continue in Noteflight” feature, real-time MIDI input and output, and live performance using the QWERTY keyboard. I’ll keep you posted.
If you have even a passing interest in funk, you will want to familiarize yourself with Herbie Hancock’s “Chameleon.” And if you are preoccupied and dedicated to the preservation of the movement of the hips, then the bassline needs to be a cornerstone of your practice.
Note-taking for User Experience Design with June Ahn
Don Norman discusses affordances and constraints in The Design of Everyday Things, Chapter Four: Knowing What To Do.
User experience design is easy in situations where there’s only one thing that the user can possibly do. But as the possibilities multiply, so do the challenges. We can deal with new things using information from our prior experiences, or by being instructed. The best-designed things include the instructions for their own use, like video games whose first level act as tutorials, or doors with handles that communicate how you should operate them by their shape and placement.
QWERTYBeats is a proposed accessible, beginner-friendly rhythm performance tool with a basic built-in sampler. By simply holding down different combinations of keys on a standard computer keyboard, users can play complex syncopations and polyrhythms. If the app is synced to the tempo of a DAW or other music playback system, the user can easily perform good-sounding rhythms over any song.
This project is part of Design For The Real World, an NYU ITP course. We are collaborating with the BEAT Rockers, the Lavelle School for the Blind, and the NYU Music Experience Design Lab. Read some background research here. Continue reading
Writing assignment for Design For The Real World with Claire Kearney-Volpe and Diana Castro – research about a new rhythm interface for blind and low-vision novice musicians
I propose a new web-based accessible rhythm instrument called QWERTYBeats.
Traditional instruments are highly accessible to blind and low-vision musicians. Electronic music production tools are not. I look at the history of accessible instruments and software interfaces, give an overview of current electronic music hardware and software, and discuss the design considerations underlying my project. Continue reading
I’m continuing to gather materials for my upcoming ISMIR 2016 presentation on Why Hip-Hop Is Interesting. One of my big themes is the melodic content of rap. Emcees are deliberate in their use of pitch, whether they’re singing or rapping or some combination of the two. In the post, I’ll analyze segments of three great emcees’ flow. I made the graphics by loading acapella tracks into Melodyne, and then added the lyric annotations by hand using Omnigraffle. The selection of these tracks represents the intersection of “songs that I like” and “acapellas that are available to me.”
Eric B and Rakim – “Follow The Leader”
Emcee: Rakim Allah
Rakim Allah stands out among eighties rappers for the complexity and subtlety of his flow. Here’s an excerpt from verse one:
In a previous post, I used the Groove Pizza to visualize some classic hip-hop beats. But the kids are all about trap beats right now, which work differently from the funk-based boom-bap of my era.
The hippest music teachers help their students create original music. But what exactly does that mean? What even is composition? In this post, I take a look at two innovators in music education and try to arrive at an answer.
Matt McLean is the founder of the amazing Young Composers and Improvisers Workshop. He teaches his students composition using a combination of Noteflight, an online notation editor, and the MusEDLab‘s own aQWERTYon, a web app that turns your regular computer keyboard into an intuitive musical interface.