2023-12-26 19:31:17
Although Aurélia Azoulay-Guetta, Jean-Louis Lasseri and Raphaël Schumann founded Newzik almost ten years ago, the score management and reading application had remained relatively discreet. This is not for lack of now having 450,000 clients, including institutions as prestigious as La Scala in Milan, the Vienna State Opera and the Île-de-France National Orchestra. With its optical music recognition technology doped with deep learningNewzik wants “transform your paper scores into interactive LiveScores”.
In just a few clicks, you can transpose the music, modify the tempo, remove an instrument, and above all export the data in MusicXML or MIDI format. If Newzik is available on the web, it is above all an iPad application allowing you to take notes with the Apple Pencil and collaborate in real time under the direction of a conductor or a teacher. Are the needs of Scala similar to those of a beginner? Should teachers fear interference from “artificial intelligence”? How to respect copyright with transcription features? We asked these questions to Amandine Richardot, chief marketing officer Newzik.
Newzik at the Île-de-France national orchestra. Image Newzik.
This interview has been edited for brevity and clarity.
Newzik affects both collective practice, particularly in the context of orchestras and professional ensembles, and individual practice, particularly in the context of learning. How do you articulate the needs of very different audiences?
We really have two targets, which each represent 50% of our turnover. On the one hand, large orchestras, ensembles, everything that might be described as a clientele B2B. On the other hand, the individual musician, whether amateur or professional, when he is the sole decision-maker. Education is an important and growing market, but we have gradually classified it in this second category, because many teachers equip themselves individually. It is an easier public to convince than educational institutions, which sometimes have a reduced budget.
A score is a score whether you discover an instrument in your corner or whether you are the concertmaster of a world-famous orchestra. How to design features with different uses for different audiences?
Let’s take the example of Live Scores: an amateur musician who plays alone at home will use it almost like a teacher, which will help him decipher more quickly, while professional musicians will mainly use it to export scores in MusicXML format to other software. We try to design features that are useful to everyone, the uses of which may vary depending on the audience.
Since you mention Live Scores: I’m still looking for how to describe them simply, without using a long circumlocution, how do you do it?
We are talking regarding “interactive scores”of “augmented partitions” or of “smart partitions”…it depends who you talk to! If I were to introduce Live Scores to someone who has never heard of them, I would say that we start by taking a PDF score which is not interactive, which is the same as a paper score. With artificial intelligence, we will bring it to life, be able to read it, listen to it, transpose it, export it… That’s really what it is, bringing paper to life.
Optical music recognition (OMR) is not new: research began in the 1960s, the first software such as SmartScore and Capella were marketed in the 1990s, and mobile applications have multiplied over the last ten years. But the one used by Live Scores, Masterybenefits from recent advances in the field of deep learning. How did you train her?
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