Affordance of vibrational excitation for music composition and performance

Mechanical vibrations have typically been used in the performance domain within feedback systems to inform musicians of system states or as communication channels between performers. In this paper, we propose the addi- tional taxonomic category of vibrational excitation of mu- sical instruments for sound generation. To explore the va- riety of possibilities associated with this extended taxon- omy, we present the Oktopus, a multi-purpose wireless sys- tem capable of motorised vibrational excitation. The sys- tem can receive up to eight inputs and generates vibrations as outputs through eight motors that can be positioned ac- cordingly to produce a wide range of sounds from an ex- cited instrument. We demonstrate the usefulness of the proposed system and extended taxonomy through the de- velopment and performance of Live Mechanics, a compo- sition for piano and interactive electronics

Haptics in music: the effects of vibrotactile stimulus in low frequency auditory difference detection tasks

We present an experiment that investigated the effect of vibrotactile stimulation in auditory pitch discrimination tasks. Extra-auditory information was expected to have some influence upon the frequency discrimination of auditory Just Noticeable Difference (JND) detection levels at 160 Hz. To measure this, the potential to correctly identified positive and negative frequency changes for two randomly divided groups was measured and then compared. The first group was given an audio only JND test and the second group was given the same test, but with additional vibrotactile stimulus delivered via a vibrating glove device. The results of the experiment suggest that in musical interactions involving the selection of specific pitches, or the detection of pitch variation, vibrotactile feedback may have some advantageous effect upon a musician's ability to perceive changes when presented in synchrony with auditory stimulus

To “Sketch-a-Scratch”

A surface can be harsh and raspy, or smooth and silky, and everything in between. We are used to sense these features with our fingertips as well as with our eyes and ears: the exploration of a surface is a multisensory experience. Tools, too, are often employed in the interaction with surfaces, since they augment our manipulation capabilities. “Sketch-a-Scratch” is a tool for the multisensory exploration and sketching of surface textures. The user’s actions drive a physical sound model of real materials’ response to interactions such as scraping, rubbing or rolling. Moreover, different input signals can be converted into 2D visual surface profiles, thus enabling to experience them visually, aurally and haptically

Haptics for the development of fundamental rhythm skills, including multi-limb coordination

This chapter considers the use of haptics for learning fundamental rhythm skills, including skills that depend on multi-limb coordination. Different sensory modalities have different strengths and weaknesses for the development of skills related to rhythm. For example, vision has low temporal resolution and performs poorly for tracking rhythms in real-time, whereas hearing is highly accurate. However, in the case of multi-limbed rhythms, neither hearing nor sight are particularly well suited to communicating exactly which limb does what and when, or how the limbs coordinate. By contrast, haptics can work especially well in this area, by applying haptic signals independently to each limb. We review relevant theories, including embodied interaction and biological entrainment. We present a range of applications of the Haptic Bracelets, which are computer-controlled wireless vibrotactile devices, one attached to each wrist and ankle. Haptic pulses are used to guide users in playing rhythmic patterns that require multi-limb coordination. One immediate aim of the system is to support the development of practical rhythm skills and multi-limb coordination. A longer-term goal is to aid the development of a wider range of fundamental rhythm skills including recognising, identifying, memorising, retaining, analysing, reproducing, coordinating, modifying and creating rhythms – particularly multi-stream (i.e. polyphonic) rhythmic sequences. Empirical results are presented. We reflect on related work, and discuss design issues for using haptics to support rhythm skills. Skills of this kind are essential not just to drummers and percussionists but also to keyboards players, and more generally to all musicians who need a firm grasp of rhythm

Musical Haptics

Haptic Musical Instruments; Haptic Psychophysics; Interface Design and Evaluation; User Experience; Musical Performanc

Augmenting Sonic Experiences Through Haptic Feedback

Sonic experiences are usually considered as the result of auditory feedback alone. From a psychological standpoint, however, this is true only when a listener is kept isolated from concurrent stimuli targeting the other senses. Such stimuli, in fact, may either interfere with the sonic experience if they distract the listener, or conversely enhance it if they convey sensations coherent with what is being heard. This chapter is concerned with haptic augmentations having effects on auditory perception, for example how different vibrotactile cues provided by an electronic musical instrument may affect its perceived sound quality or the playing experience. Results from different experiments are reviewed showing that the auditory and somatosensory channels together can produce constructive effects resulting in measurable perceptual enhancement. That may affect sonic dimensions ranging from basic auditory parameters, such as the perceived intensity of frequency components, up to more complex perceptions which contribute to forming our ecology of everyday or musical sounds

Perception of Vibrotactile Cues in Musical Performance

We suggest that studies on active touch psychophysics are needed to inform the design of haptic musical interfaces and better understand the relevance of haptic cues in musical performance. Following a review of the previous literature on vibrotactile perception in musical performance, two recent experiments are reported. The first experiment investigated how active finger-pressing forces affect vibration perception, finding significant effects of vibration type and force level on perceptual thresholds. Moreover, the measured thresholds were considerably lower than those reported in the literature, possibly due to the concurrent effect of large (unconstrained) finger contact areas, active pressing forces, and long-duration stimuli. The second experiment assessed the validity of these findings in a real musical context by studying the detection of vibrotactile cues at the keyboard of a grand and an upright piano. Sensitivity to key vibrations in fact not only was highest at the lower octaves and gradually decreased toward higher pitches; it was also significant for stimuli having spectral peaks of acceleration similar to those of the first experiment, i.e., below the standard sensitivity thresholds measured for sinusoidal vibrations under passive touch conditions

Tangibility and Richness in Digital Musical Instrument Design

PhDThe sense of touch plays a fundamental role in musical performance: alongside hearing, it is the primary sensory modality used when interacting with musical instruments. Learning to play a musical instrument is one of the most developed haptic cultural practices, and within acoustic musical practice at large, the importance of touch and its close relationship to virtuosity and expression is well recognised. With digital musical instruments (DMIs) – instruments involving a combination of sensors and a digital sound engine – touch-mediated interaction remains the foremost means of control, but the interfaces of such instruments do not yet engage with the full spectrum of sensorimotor capabilities of a performer. This poses compelling questions for digital instrument design: how does the nuance and richness of physical interaction with an instrument manifest itself in the digital domain? Which design parameters are most important for haptic experience, and how do these parameters affect musical performance? Built around three practical studies which utilise DMIs as technology probes, this thesis addresses these questions from the point of view of design, of empirical musicology, and of tangible computing. In the first study musicians played a DMI with continuous pitch control and vibrotactile feedback in order to understand how dynamic tactile feedback can be implemented and how it influences musician experience and performance. The results suggest that certain vibrotactile feedback conditions can increase musicians’ tuning accuracy, but also disrupt temporal performance. The second study examines the influence of asynchronies between audio and haptic feedback. Two groups of musicians, amateurs and professional percussionists, were tasked with performing on a percussive DMI with variable action-sound latency. Differences between the two groups in terms of temporal accuracy and quality judgements illustrate the complex effects of asynchronous multimodal feedback. In the third study guitar-derivative DMIs with variable levels of control richness were observed with non-musicians and guitarists. The results from this study help clarify the relationship between tangible design factors, sensorimotor expertise and instrument behaviour. This thesis introduces a descriptive model of performer-instrument interaction, the projection model, which unites the design investigations from each study and provides a series of reflections and suggestions on the role of touch in DMI design.Doctoral Training Centre for Media and Arts Technolog

A qualitative analysis of haptic feedback in music focused exercises new interfaces for musical expression

We present the findings of a pilot-study that analysed the role of haptic feedback in a musical context. To closely examine the role of haptics in Digital Musical Instrument (DMI) design an experiment was formulated to measure the users’ perception of device usability across four separate feedback stages: fully haptic (force and tactile combined), constant force only, vibrotactile only, and no feedback. The study was piloted over extended periods with the intention of exploring the application and integration of DMIs in real-world musical contexts. Applying a music orientated analysis of this type enabled the investigative process to not only take place over a comprehensive period, but allowed for the exploration of DMI integration in everyday compositional and explorative practices. As with any investigation that involves creativity, it was important that the participants did not feel rushed or restricted. That is, they were given sufficient time to explore and assess the different feedback types without constraint. This provided an accurate and representational set of qualitative data for validating the participants’ experience with the different feedback types they were presented with