[CharlesOConnell]

Experience in MIDI instruction in schools, is that there is constant need for remediation for poor exposure to music-listening: A group instruction environment typically experienced by a student who actually does belong in the class, is that the class can't move any faster than the poorest, slowest student. In years past, typically in group instruction for a practical computer application program, like business applications, (Office: Word, Excel, PowerPoint, Publisher and Access-dB, or Adobe Photoshop, Illustrator and the wide suite of media production platforms), the fatal stumbling block in the group setting is students who have never even used a computer. So the instructor's attention is arrested by trying to keep up the slowest student, and the more advanced students get neglected, and don't end up learning anything. In the MIDI instruction environment, students may come in knowing a lot about novelty-tricks, whistles-&-bells, but the cultural basis of knowing about a wide variety of musical forms and developing discrimination to know what is good music product, what actually to do with the high-powered music technology, is lacking—they may know "how" to do things, but not "what" to do. In general, the de facto experience of college is that it can't really teach you anything new, or which you can't better get somewhere else, it can only confirm what you already know. About this issue, that would involve listening for years to classical, jazz and non-frivolous world music, before getting behind the wheel of some souped-up music technology. That is a kind of education that needs to be started in early childhood, and trying to catch up in the teenaged or adult years, represents a steep learning curve slope.

[Red Badger]

https://www.classicfm.com/composers/chopin/guides/chopin-minute-waltz-timed/

[CharlesOConnell]

The Good Stuff: You can tell that classical programmers have a reserve list of “the good stuff” because they trundle it out during pledge. Then when they’re not on a fundraising drive, they are free to revert back to “the usual schlock”.

Dvorak, Mendelssohn, Tchaikovsky, Haydn, Schubert, Barber, Wagner, Bach, Beethoven, Mozart. https://wp.me/p256FR-1Za

[Repeal The 17th]

“At the link-click in the top of the article.”
-
The link goes straight to the audio clip.

[Bruce Campbells Chin]

>Apply AI Quantize or “Correct Rhythm” to straighten out timing.

Manually adjust any specific note (for example the 27th note) in the MIDI editor.

So for us lay people, it sounds like the goal here is not to provide additional clarity/fidelity to the original performance, but rather to correct the "mistakes" made by the human performers in the original recording.

Is that correct?

Because if so, that sounds sort of like a more sophisticated version of auto-tune, except for instrumentation.

[Myrddin]

The "magic" of MIDI is the ability to execute a mechanically perfect performance of music with no limits on the technical difficulty. That assumes the composition itself is flawless. From years of writing software with demanding compilers with strict type checking, it should be possible to observe the MIDI content and detect syntax errors that violate timing constraints. At that point, it is the responsibility of the "programmer" to analyze and correct the defect to achieve syntactic correctness. It is likely that much of the music created over the centuries does not measure up to that level of scrutiny.

[Yardstick]

Most studios would digitize the piano track and then fix the bad note using ProTools or some other recording/editing software. The performance would keep its natural feel and the edit would be seamless. I doubt they’d do anything with MIDI.

[trebb]

I just like listening to music - sometimes a sight “flaw” (instrumental or vocal) makes it better than robotic perfection...of course, I used to drink Boones Farm and Bali Hai too.

Being experienced in electronics, it is common knowledge that when you increase the rate of timing (sampling) signals, you get truer representations of what the original is.