Thematische Bibliographien / Haptic music

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Auswahl der wissenschaftlichen Literatur zum Thema „Haptic music“

Autor: Grafiati

Veröffentlicht am 25. Mai 2024

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Zeitschriftenartikel zum Thema "Haptic music"

Kontogeorgakopoulos, Alexandros. „Music, Art Installations and Haptic Technology“. Arts 12, Nr. 4 (07.07.2023): 142. http://dx.doi.org/10.3390/arts12040142.

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This paper presents some directions on the design, development and creative use of haptic systems for musical composition, performance and digital art creation. This research has been conducted both from an artistic and a technical point of view and its ambition, over the last decade, apart from the artistic outcome, was to introduce the field of haptics to artistic communities based on an open, do it yourself—DIY ethos. The five directions presented here are not in any sense exhaustive and are based principally on a series of collaborative works and more personal open-ended explorations with the medium of haptics and, more specifically, force-feedback interaction. They will be highlighted along with information about the interaction models and their application to artistic works created by the author and other colleagues. Those directions are (i) Haptic Algorithms and Systems; (ii) Performers Intercoupling; (iii) Haptic Interfaces as Part of the Artistic Practice; (iv) Electromechanical Sound Generation; and (v) Media Art and Art Installations. The interdisciplinary field of musical haptics still has a relatively minor position in the sound and music computing research agendas and, more importantly, its artistic dimension is very rarely discussed. The findings of this research aim to indicate and clarify potential research pathways and offer some results on the use of haptics and force-feedback systems in an artistic context.

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Remache-Vinueza, Byron, Andrés Trujillo-León, Mireya Zapata, Fabián Sarmiento-Ortiz und Fernando Vidal-Verdú. „Audio-Tactile Rendering: A Review on Technology and Methods to Convey Musical Information through the Sense of Touch“. Sensors 21, Nr. 19 (30.09.2021): 6575. http://dx.doi.org/10.3390/s21196575.

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Tactile rendering has been implemented in digital musical instruments (DMIs) to offer the musician haptic feedback that enhances his/her music playing experience. Recently, this implementation has expanded to the development of sensory substitution systems known as haptic music players (HMPs) to give the opportunity of experiencing music through touch to the hearing impaired. These devices may also be conceived as vibrotactile music players to enrich music listening activities. In this review, technology and methods to render musical information by means of vibrotactile stimuli are systematically studied. The methodology used to find out relevant literature is first outlined, and a preliminary classification of musical haptics is proposed. A comparison between different technologies and methods for vibrotactile rendering is performed to later organize the information according to the type of HMP. Limitations and advantages are highlighted to find out opportunities for future research. Likewise, methods for music audio-tactile rendering (ATR) are analyzed and, finally, strategies to compose for the sense of touch are summarized. This review is intended for researchers in the fields of haptics, assistive technologies, music, psychology, and human–computer interaction as well as artists that may make use of it as a reference to develop upcoming research on HMPs and ATR.

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Frisson, Christian, und Marcelo M. Wanderley. „Challenges and Opportunities of Force Feedback in Music“. Arts 12, Nr. 4 (10.07.2023): 147. http://dx.doi.org/10.3390/arts12040147.

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A growing body of work on musical haptics focuses on vibrotactile feedback, while musical applications of force feedback, though more than four decades old, are sparser. This paper reviews related work combining music and haptics, focusing on force feedback. We then discuss the limitations of these works and elicit the main challenges in current applications of force feedback and music (FF&M), which are as follows: modularity; replicability; affordability; and usability. We call for the following opportunities in future research works on FF&M: embedding audio and haptic software into hardware modules, networking multiple modules with distributed control, and authoring with audio-inspired and audio-coupled tools. We illustrate our review with recent efforts to develop an affordable, open-source and self-contained 1-Degree-of-Freedom (DoF) rotary force-feedback device for musical applications, i.e., the TorqueTuner, and to embed audio and haptic processing and authoring in module firmware, with ForceHost, and examine their advantages and drawbacks in light of the opportunities presented in the text.

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Young, Gareth W., Néill O’Dwyer, Mauricio Flores Vargas, Rachel Mc Donnell und Aljosa Smolic. „Feel the Music!—Audience Experiences of Audio–Tactile Feedback in a Novel Virtual Reality Volumetric Music Video“. Arts 12, Nr. 4 (13.07.2023): 156. http://dx.doi.org/10.3390/arts12040156.

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The creation of imaginary worlds has been the focus of philosophical discourse and artistic practice for millennia. Humans have long evolved to use media and imagination to express their inner worlds outwardly via artistic practice. As a fundamental factor of fantasy world-building, the imagination can produce novel objects, virtual sensations, and unique stories related to previously unlived experiences. The expression of the imagination often takes a narrative form that applies some medium to facilitate communication, for example, books, statues, music, or paintings. These virtual realities are expressed and communicated via multiple multimedia immersive technologies, stimulating modern audiences via their combined Aristotelian senses. Incorporating interactive graphic, auditory, and haptic narrative elements in extended reality (XR) permits artists to express their imaginative intentions with visceral accuracy. However, these technologies are constantly in flux, and the precise role of multimodality has yet to be fully explored. Thus, this contribution to Feeling the Future—Haptic Audio explores the potential of novel multimodal technology to communicate artistic expression via an immersive virtual reality (VR) volumetric music video. We compare user experiences of our affordable volumetric video (VV) production to more expensive commercial VR music videos. Our research also inspects audio–tactile interactions in the auditory experience of immersive music videos, where both auditory and haptic channels receive vibrations during the imaginative virtual performance. This multimodal interaction is then analyzed from the audience’s perspective to capture the user’s experiences and examine the impact of this form of haptic feedback in practice via applied human–computer interaction (HCI) evaluation practices. Our results demonstrate the application of haptics in contemporary music consumption practices, discussing how they affect audience experiences regarding functionality, usability, and the perceived quality of a musical performance.

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Venkatesan, Tara, und Qian Janice Wang. „Feeling Connected: The Role of Haptic Feedback in VR Concerts and the Impact of Haptic Music Players on the Music Listening Experience“. Arts 12, Nr. 4 (10.07.2023): 148. http://dx.doi.org/10.3390/arts12040148.

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Today, some of the most widely attended concerts are in virtual reality (VR). For example, the videogame Fortnite recently attracted 12.3 million viewers sitting in homes all over the world to a VR Travis Scott rap concert. As such VR concerts become increasingly ubiquitous, we are presented with an opportunity to design more immersive virtual experiences by augmenting VR with other multisensory technologies. Given that sound is a multi-modal phenomenon that can be experienced sonically and vibrationally, we investigated the importance of haptic feedback to musical experiences using a combination of qualitative and empirical methodologies. Study 1 was a qualitative study demonstrating that, unlike their live counterparts, current VR concerts make it harder for audiences to form a connection with artists and their music. Furthermore, VR concerts lack multisensory feedback and are perceived as less authentic than live concert experiences. Participants also identified a variety of different kinds of touch that they receive at live concerts and suggested that ideal VR concerts would replicate physical touch and thermal feedback from the audience, emotional touch, and vibrations from the music. Specifically, users advocated for the use of haptic devices to increase the immersiveness of VR concert experiences. Study 2 isolated the role of touch in the music listening experience and empirically investigated the impact of haptic music players (HMPs) on the audio-only listening experience. An empirical, between-subjects study was run with participants either receiving vibrotactile feedback via an HMP (haptics condition) or no vibrotactile feedback (control) while listening to music. Results indicated that listening to music while receiving vibrotactile feedback increased participants’ sense of empathy, parasocial bond, and loyalty towards the artist, while also decreasing participants’ feelings of loneliness. The connection between haptics condition and these dependent variables was mediated by the feeling of social presence. Study 2 thus provides initial evidence that HMPs may be used to meet people’s need for connection, multisensory immersion, and complex forms of touch in VR concerts as identified in Study 1.

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Dörr, Bianka, Farzaneh Norouzinia, Kristin Altmeyer und Dirk Werth. „Haptic Technology in Digital Music Learning Context: A State-of-the-Art Analysis“. European Conference on e-Learning 21, Nr. 1 (21.10.2022): 87–94. http://dx.doi.org/10.34190/ecel.21.1.529.

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Abstract: Digital media have become increasingly established in learning contexts in recent decades, and it seems impossible to imagine education without them, especially in recent years. Various technological advances can be observed, such as developments in virtual reality and augmented reality. To give learners a realistic impression of the virtual world, as many sensory impressions as possible should be addressed. However, current developments have mainly addressed the visual and auditory modalities, which make up two of the five human senses. Research and developments for the use of the other senses are being made but at this stage they are not yet ready for mass use. Especially the sense of touch based on skin as the largest human sensory organ or tactile and haptic perception seem to be of interest. Particularly in manual or medical areas where motor skills are required, haptic technologies are declared to be supportive and beneficial. One area that has hardly focused on digital learning so far is the music sector. Learning a musical instrument in this context seems to be an interesting field of research, as it not only promotes motor skills, but also cognitive development in both children and adults. To give an update on the technical developments in the field of digital teaching and learning in music, and especially to highlight the use of haptic technologies, we will briefly review the state of the art in this paper. It begins with a brief overview of the basics of digital learning and haptics, as well as previous work in this field. Using the method of a scoping review, the topic of haptic technologies in the field of music education will be researched, analysed, and summarised according to defined criteria to give a condensed overview of it. The selected database and appropriate search strings will be used to achieve the aim of the paper. The results help to shed light on current research gaps and give indications for future developments of haptic technology in the music learning context.

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Asakawa, Takashi, und Noriyuki Kawarazaki. „Communication Method of Time Synchronization and Strength Using Haptic Interface“. Journal of Robotics and Mechatronics 26, Nr. 6 (20.12.2014): 772–79. http://dx.doi.org/10.20965/jrm.2014.p0772.

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<div class=""abs_img""><img src=""[disp_template_path]/JRM/abst-image/00260006/10.jpg"" width=""300"" />Electric music baton system</div> We are developing an electronic baton system as an alternative haptic interface to facilitate music lessons for the visually impaired. This system incorporates an acceleration sensor in the baton, transmits data to a player via radio signals, and acts as a haptic interface by generating vibrations. In this paper, we experimentally evaluate responses to the stimulus of the visual and the tactile senses in order to verify that a haptic interface can substitute for vision in scenarios that involve real-time tasks, such as music lessons. In the first experiment, we verify that clue motions are important for both the visual and a tactile senses. Next, we test the new method of communicating strength. Thismethod uses not vibration strength but oscillating time for vibrations of the haptic device. The results of the experiment confirm that the technique is effective. </span>

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Lu, Leon. „Learning Music Blind: Understanding the Application of Technology to Support BLV Music Learning“. ACM SIGACCESS Accessibility and Computing, Nr. 135 (Januar 2023): 1. http://dx.doi.org/10.1145/3584732.3584737.

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Learning to play a musical instrument and engaging in musical activities have enabled blind and/or low vision people to develop self-identity, find community and pursue music as a career. However, blind and/or low vision music learners face complex obstacles to learn music. They are highly reliant on their learning environment and music teachers for accommodations and flexibility. Prior research has identified the challenges faced by blind and/or low vision musicians and recognized the importance of touch for music reading and physical guidance. However, limited research has addressed these challenges through the development of assistive technology. The development of music computer technologies with haptics and the affordances of wearable technologies provides encouraging opportunities to develop haptic wearable devices to support blind and/or low vision music learning. I identify three unexplored research questions: (1) what design considerations must be addressed in future assistive technologies for BLV music learning, (2) how can wearable technologies with vibrotactile feedback support BLV student-teacher interactions, and (3) what are the long-term benefits and limitations of the use of assistive technologies for BLV music learning? I outline my research to date and highlight my findings.

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Rebelo, Pedro. „Haptic sensation and instrumental transgression“. Contemporary Music Review 25, Nr. 1-2 (Februar 2006): 27–35. http://dx.doi.org/10.1080/07494460600647402.

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Paterson, Justin, und Marcelo M. Wanderley. „Feeling the Future—Haptic Audio: Editorial“. Arts 12, Nr. 4 (07.07.2023): 141. http://dx.doi.org/10.3390/arts12040141.

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Dissertationen zum Thema "Haptic music"

Markow, Tanya Thais. „Mobile music touch: using haptic stimulation for passive rehabilitation and learning“. Diss., Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/43665.

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Hand rehabilitation after injury or illness may allow a patient to regain full or at least partial use of a limb. However, rehabilitation often requires the patient to perform multiple repetitions of motions. While absolutely essential to regaining usage, such exercises are not always mentally engaging or enjoyable for the patient. The loss or degradation of the use of the hands can cause considerable loss of independence. In this dissertation, we present Mobile Music Touch (MMT), a wireless glove paired with a computing device, such as a laptop, smart phone, or MP3 player. The MMT system plays a song, while also "tapping" the fingers using vibration motors to indicate the correct finger to use to play the song on a piano keyboard. Learning a new skill or activity without active focus, an idea called Passive Haptic Learning(PHL) may allow an individual to learn one skill through their sense of touch while performing another, unrelated activity. Most rehabilitation activities are active in nature, requiring the focused participation of the injured person. Passive rehabilitation is the idea that some technologies and activities may bring about beneficial changes without the active engagement of the injured person. In order to study the concepts of PHL and PHR, we propose the Mobile Music Touch (MMT) system. We show that using passive rehabilitation in conjunction with the active rehabilitation of piano playing will bring about a greater degree of improvement in the hands than that achieved using only active rehabilitation. This dissertation research makes three unique contributions. First, we demonstrate that Passive Haptic Learning (PHL) using just the sense of touch is feasible and provides a form of learning and reinforcement of learned skills and tasks. Second, we identify the attributes and design features of a glove suited for long term wear by persons who use a manual wheelchair for mobility. Third, we show that Passive Haptic Rehabilitation (PHR) is possible using vibrotactile stimulation of the hands in persons classified as tetraplegic due to incomplete spinal cord injury.

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Pedrosa, Ricardo. „Perception-based design, including haptic feedback in expressive music interfaces“. Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/32053.

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When designing haptic feedback into human-computer interfaces the most common approach is to restrict its deployment to only one of the haptic channels (either force or vibrotactile feedback) and this decision is often biased according to the technological boundaries imposed by the interface design or its purpose. The research presented here outlines a methodology developed to include haptic feedback in a gesture interface used to implement a computer based music instrument. The primary goal of this research is to achieve an increased understanding of how different flavors of haptic feedback should be combined to support both controllability and comfort in expressive interfaces such as computer based musical instruments. The work reported here has two parts: 1) a description of an initial user experiment conducted for the purpose of assessing the use of vibrotactile stimuli as rhythmic cues, and 2) a proposed research trajectory which will constitute the theme for a PhD project. The main hypothesis guiding this research is that the best way to include haptic feedback into any design should start by understanding the role each haptic channel plays in the "real life scenario". The assumption we will put into test is that the feedback provided for each haptic channel could be developed individually and later on fine tuned when mixed in the final design, and this includes that the addition of any extra cues we might be interested in supplying to the end user to enhance the real life experience should be designed and mixed in each haptic channel before the final blend occurs. This methodology could be defined as a "perception-based design": a design approach that starts with a perceptual characterization of the interaction that is being addressed and fine tune the results according to the perceptual load put on the user senses. We expect that the knowledge gathered will be useful not only to a broader spectrum of expressive interfaces but could also be extrapolated to including haptic feedback in other interface designs.
Science, Faculty of
Computer Science, Department of
Graduate

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Mattsson, Adam, und Martin Åhlén. „Vibraesthetics of Music : The design of BEATHOVEN: a haptic device for enjoying music through vibrotactile sensations“. Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85996.

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The project has the purpose of designing and developing a wearable haptic device for experiencing music through tactile vibrations on the body, and the result is the product concept BEATHOVEN and a completely new way of experiencing music. Music is powerful, it touches our soul and gives form to our emotions. It captures the inner landscape of our minds, resonating in endless colours and nuances and shares it with others. Music has been a part of the human species for over 40 000 years and has played a fundamental role in our evolution and society; it is believed that we sang before we even spoke. Music, along with its aesthetic qualities, has throughout history been closely tied to our auditory perception. It was originally created and designed for listeners and has long been considered as something for the hearing. That perspective is starting to get more and more blurred out, however, and music is stepping out of auditory exclusivity. The general view of music today excludes over five percent of the world's population: people with disabling hearing loss. Hearing loss can impact a person’s life in many ways and one major impact is their ability to communicate with others. Music is another form of communication, and it is one where all of these people have thus far been excluded. The goal of this project is to design and develop a product that includes more people in music. The project is carried out in collaboration with Pariception, a company specialized in research and development of assistive devices for people with deafblindness, and stems from one of their existing products: Good Vibrations. Good Vibrations is a wearable device for experiencing music through vibrations; it is a completely unique product and differs from all other solutions on the market. There are some brands, such as SubPac and Woojer, who have developed tactile music accessories, but these products are focused on enhancing a listening experience. Good Vibrations and BEATHOVEN are unique because they aim to convey the full musical experience and to be used independently from hearing. The current project brings Good Vibrations back to its basic concept idea, to redefine, refine, and design it into a usable, viable, and desirable consumer product: BEATHOVEN. The project is made up of three main parts; to understand how the vibrotactile experience of music can be designed into a meaningful product, to understand how music can be conveyed through vibrotactile sensations on the body, and to know where on the body the vibrations should be conveyed to optimize the experience. To do this, we have created our own approach, adopting a mix of different design approaches such as design-driven innovation, human-centered design, embodied design, and aesthetic exploration. Research strongly indicates that it is possible to perceive aesthetic qualities within music through other senses than hearing, for example through stimuli such as tactile vibrations. To aid us in the development of the product, and to explore the aesthetic qualities of vibrations, we have defined a new research subject called Vibraesthetics. The project has resulted in BEATHOVEN, a product concept featuring five vibrotactile actuators distributed to the chest and the neck. The product takes the input from any song or piece of music and transposes its frequencies to fit within 5-1000 Hz, which is the general range of human tactile perception. The music is further divided into three registers and distributed to separate and dedicated actuators. Some of the artist's original intentions with the music may be altered, but the richness of the experience is still there and available to anyone, regardless of their hearing abilities.
Målet med projektet är att utveckla och designa en bärbar haptisk produkt för att uppleva musik genom taktila vibrationer på kroppen. Resultatet av projektet är produktkonceptet BEATHOVEN och ett helt nytt sätt att uppleva musik. Musik är kraftfull, det berör vår själ och sätter form på våra känslor. Det fångar vårt inre landskap, resonerar i oändliga färger och nyanser och delar det med andra. Musik har varit en del av den mänskliga arten i över 40 000 år och har spelat en grundläggande roll i vår utveckling och i vårt samhälle; mycket tyder på att vi sjöng innan vi ens började prata. Musik, tillsammans med dess estetiska kvalitéer, har genom historien varit nära knuten till vår hörsel. Den skapades ursprungligen och designades för lyssnare och har länge ansetts vara något för just hörseln. Den här synen på musik börjar dock mer och mer suddas ut, och nya sätt att uppleva musiken får ta plats. Genom den allmänna synen på musik vi har i dag utesluts dock över fem procent av världens befolkning: personer med nedsatt hörsel. Hörselnedsättning kan påverka människors liv på flera sätt och en viktig inverkan är på förmågan att kommunicera med andra. Musik är en annan form av kommunikation, en form där alla dessa människor hittills har blivit exkluderade. Målet med detta projekt är att designa och utveckla en produkt som inkluderar fler personer i musik. Projektet genomförs i samarbete med Pariception, ett företag specialiserat på forskning och utveckling av hjälpmedel för personer med dövblindhet, och grundar sig i en av deras befintliga produkter: Good Vibrations. Good Vibrations är en bärbar produkt som möjliggör upplevelsen av musik genom taktila vibrationer; det är en helt unik produkt i sig och skiljer sig från alla andra lösningar som finns på marknaden idag. Det finns ett fåtal aktörer, som SubPac och Woojer, som har utvecklat taktila musiktillbehör, men de är enbart inriktade på att förstärka upplevelsen för den som redan hör. Good Vibrations och BEATHOVEN är unika av sitt slag då de eftersträvar att förmedla den fulla musikupplevelsen, oberoende av hörseln. I det här projektet tar vi Good Vibrations tillbaka till sin kärna, för att sedan omdefiniera, förfina och utforma den till en användbar, fungerande och åtråvärd konsumentprodukt: BEATHOVEN. Projektet består av tre huvuddelar; att förstå hur musikens vibrotaktila upplevelse kan designas till en meningsfull produkt, att förstå hur musik kan förmedlas genom vibrotaktila förnimmelser på kroppen, samt att veta var på kroppen vibrationerna ska förmedlas för att optimera upplevelsen. För att göra detta, har vi skapat ett eget tillvägagångssätt, där vi har kombinerat olika designmetoder så som; design-driven innovation, människocentrerad design, embodied design och estetisk utforskning. Forskning visar starkt på att det är möjligt att uppleva estetiska egenskaper inom musiken genom andra sinnen än hörseln, till exempel genom taktila vibrationer. För att hjälpa oss i utvecklingsarbetet av produkten och för att bättre undersöka och förstå vibrationernas estetiska egenskaper har vi definierat ett nytt forskningsämne som heter Vibroestetik. Resultatet av projektet är BEATHOVEN, ett produktkoncept bestående av vibrotaktila aktuatorer fördelade på bröstet och nacken. Produkten översätter vilken låt eller musik som helst och transponerar ner den till ett område på 5-1000 Hz, vilket är det allmänna omfånget för vår huds taktila uppfattningsförmåga. Musiken är sedan uppdelad i tre register och distribueras till separata aktuatorer. En viss del av konstnärens ursprungliga tankar och idéer med musiken kan förändras eller filtreras bort, men upplevelsens rikedom finns fortfarande kvar och är tillgänglig för alla, oavsett deras hörsel.

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Hayes, Lauren Sarah. „Audio-haptic relationships as compositional and performance strategies“. Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9481.

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As a performer of firstly acoustic and latterly electronic and electro-instrumental music, I constantly seek to improve my mode of interaction with the digital realm: that is, to achieve a high level of sensitivity and expression. This thesis illustrates reasons why making use of haptic interfaces—which offer physical feedback and resistance to the performer—may be viewed as an important approach in addressing the shortcomings of some the standard systems used to mediate the performer’s engagement with various sorts of digital musical information. By examining the links between sound and touch, and the performer-instrument relationship, various new compositional and performance strategies start to emerge. I explore these through a portfolio of original musical works, which span the continuum of composition and improvisation, largely based around performance paradigms for piano and live electronics. I implement new haptic technologies, using vibrotactile feedback and resistant interfaces, as well as exploring more metaphorical connections between sound and touch. I demonstrate the impact that the research brings to the creative musical outcomes, along with the implications that these techniques have on the wider field of live electronic musical performance.

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Mazzoni, Antonella. „Mood Glove : enhancing mood in film music through haptic sensations for an enriched film experience“. Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/39757.

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This research explores a new way of enhancing audience experience in film entertainment, presenting the design and implementation of a wearable prototype system that uses haptic sensations to intensify moods in lm music. The aim of this work is to enrich the musical experience of film audiences and might also have implications on the hearing-impaired, providing them with a new enhanced emotional experience while watching a movie. Although there has been previous work into music displays of a visual and haptic nature, and on the importance of music in film, there is no documented research on musical enhancement experience in film entertainment. This work focuses on the mood conveyed by film music in order to understand what role it plays in creating the film experience, and also explores the possibility of enhancing those feelings through haptic sensations. Drawing on HCI and interaction design principles, the design of a piece of haptic wearable technology is proposed and used as the tool for user studies. This research contributes to the fields of: HCI, interaction design, user experience design, multimodal interaction, creative technology, wearable technology, haptics, entertainment technology and film music. This work also provides a set of design suggestions to aid future research and designers of haptic sensations for media enhancement. Proposed guidelines are based on a number of empirical findings that describe and explain aspects of audience emotional response to haptics, providing some first evidence that there is a correlation between vibrotactile stimuli (such as frequency and intensity) and perceived feelings.

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Fure, Ashley Rose. „Boundary Notions: A Sonic Art Portfolio“. Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10962.

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I offer this dissertation as a survey and a story: a survey of my work across the field of sonic art and a story of my progressive compulsion toward sound that conveys touch. This haptic sensibility sharpens from Susurrus (2006) through Soma (2012), manifesting in a fixation on the impact of sound on bodies and the impact of bodies on sound. Both the visceral sensation of hearing and the manner in which movement imprints onto acoustic phenomena concern me. My musical forms are conceived not as abstract arrangements of objects (or notes) but as complex physical confrontations that produce audible byproducts. I compose primarily with chaotic spectra, mixing raw noise from found objects with extended instrumental techniques. These timbres front an acoustic wildness intentionally abated in conventional instrumental practice. And yet, the precision of classical instruments opens avenues of transformation closed to unmediated noise. Virtuosity and crudeness face-off in my work, circling an aesthetic region between embellishment and fact, between sound as a carrier of aesthetic intent and sound as a subsidiary effect of action. The ten works presented in this portfolio include eight compositions scored for a range of ensembles, from soloist to orchestra, with and without electronics, as well as two interactive multimedia installations. Dramatic links between physical movement and musical form arise across this output. In my installations, I posit causal relationships between visible stimuli (spinning strings, spatial structures, moving bodies) and resultant sounds. In my electroacoustic works, I attend to the implied weight of spatialized sound – as though a gesture’s trajectory through arrayed speakers were informed by gravity. In my acoustic music, I bring the muscular strain behind instrumental technique to the perceptual fore. My professional activities shift regularly between concert music and installation art and between acoustic and electroacoustic contexts. Passing between these genres stretches the boundaries of my creative practice and forces me to consistently reframe notions of ritual and form. Within each platform, I aim to stage visceral aesthetic encounters that, as Francis Bacon once hoped for his paint, bypass the brain and go directly to the nervous system.
Music

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Crawshaw, Alexis Story. „La musique électro-Somesthésique : approches spatiales, théorisation et expérimentations créatives“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080074.

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Ce travail de recherche propose l’idée d’une musique électro-somesthésique (MES). Nous la définissons en tant qu'une musique informatique qui cible la somesthésie dans des perspectives artistiques et musicales. La MES engage les sens somatiques non-cochléaires sensibles aux ondes mécaniques. Nous proposons que l’expérience somesthésique de l’espace est qualitativement distincte des autres sens. Ces sensations opèrent en haute précision dans notre espace intime : à travers notre seuil corporel et voire à l’intérieur de nous-même. Ces subtilités offrent un terrain novateur artistique à explorer. Toutefois, les considérations spatiales potentielles sont complexes et peuvent prêter à confusion. Ainsi, pour mieux apprécier leurs relations et expérimenter des idées compositionnelles, nous avançons des considérations théoriques avec quelques preuves de concept techniques et artistiques. Dans la première partie, nous abordons l’espace conceptuel de l’expression spatiale MES : les relations spatiales parmi les niveaux du percepteur, du contenu et de l’environnement. Dans la seconde partie, nous élaborons les possibilités matricielles du rendu spatial en informatique : trois paradigmes principaux de la manipulation spatiale—la physique (par l’acoustique), le virtuel (par l’informatique), le perceptuel (par des illusions d’espace pas apparentes)—qui passent par deux optiques : où des événements sonores sont relatifs au niveau du corps (égocentrée) ou où ils sont relatifs à l’environnement externe au corps (allocentrée). Ensemble, ces cas théoriques constituent un espace créateur prometteur et les expérimentations pratiques explorent des chemins pour ses investigations futures
This work of research proposes the idea of electro-somaesthetic music (ESM). We define it as a computer music that targets somatosensation for artistic and musical ends. ESM engages the non-cochlear somatic senses sensitive to mechanical waves. We propose that the somatosensory experience of space is qualitatively distinct from other senses. These sensations operate at high resolution within our intimate space: across our bodily threshold and even within the interior space of our bodies. These subtleties offer a novel artistic terrain for exploration. However, its potential spatial considerations are complex, and these can lend themselves to confusion. As such, to better appreciate their relationships and experiment with compositional ideas, we advance some theoretical considerations with several technical and artistic proofs of concept. In the first part, we address the conceptual space of ESM spatial expression. We examine the relationships among the levels of the perceiver, the content, and the environment. In the second part, we elaborate upon the matrix of possibilities regarding computational spatial rendering: three principal paradigms of spatial manipulation—physical (via acoustics), virtual (via computation), perceptual (via non-evident spatial illusions)—that transpire through two lenses: where sonic events are relative to the level of the body (egocentric) or where they are relative to the environment external to the body (allocentric). Together, these theoretical cells form a promising creative space and our practical experimentations explore paths forward toward future investigations

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Mills, David Robert. „Our Third Ear: A Multi-Sensory Experience of Sound“. Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71749.

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Our Third Ear aims to create a multi-sensory experience by fusing sight, touch, and sound. By creating a means of physically feeling music, listeners can connect with songs, bands, and individual musicians on a profoundly personal level. The potential for unintended applications like learning to play an instrument, broadening the understanding of music for people with hearing impairments, or providing a means of therapy are also exciting prospects. The purpose of this paper is to illustrate the process involved in creating a multi-sensory experience of music from concept to prototype. The culmination of interdisciplinary research and a broad range of creative technologies resulting in a working system. The multi-sensory experience consists of primarily tactile, but also visual responses triggered by music and executed in conjunction with aural music. Tactile investigation involved varied tactile sensations such as vibration, temperature, pressure, proprioception, and touch. Further research questioned the practicality, feasibility, and psychological impacts of using such sensations as well as where on the body such sensations would optimally be received. Visual research involved the visual representation of notes, chords, and sounds, as well as, how music could directly affect visuals in a real time environment. Additional research explored active interaction and passive interaction of visual cues using human computer interfaces.
Master of Fine Arts

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Frid, Emma. „Perceptual Characterization of a Tactile Display for Live Electronic Music Performance : Designing a Vibrotactile Notification Tool for the CIRMMT Live Electronics Framework (CLEF)“. Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-159245.

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This study was conducted to assess physical and perceptual properties of a tactile display for a vibrotactile notification system within the CIRMMT Live Electronics Framework (CLEF), a Max-based modular environment for composition and performance of live electronic music. The tactile display was composed of two rotating eccentric mass actuators driven by a PWM signal generated from an Arduino microcontroller. Physical measurements using an accelerometer were carried out in order to estimate intensity and spectral peak frequency as function of duty cycle of the PWM signal. In addition, three user-based studies were conducted to estimate perceptual vibrotactile absolute threshold, differential threshold and temporal differential threshold. Obtained results provided us with precise guidelines that facilitate the design of perceptually robust vibrotactile stimuli for our tactile application. A set of eight simple tactons (vibrotactile icons) was defined, whereafter an absolute identification test was conducted in order to estimate mean tacton recognition rates. Results were promising; mean tacton recognition rate was found to be 74 %. Based on all findings described above, a Max-based prototype used for exploration of tactile stimuli was developed. The prototype contained a library of tactile notification presets to be loaded into CLEF, along with a simple tacton editor for design of customized tactile events.
Syftet med denna studie var att undersöka fysiska och perceptuella egenskaper hos en taktil display som designats för att presentera taktila notifikationssignaler till användare av CIRMMT Live Electronics Framework (CLEF), en Max-baserad modulär miljö för komposition och framförande av musikstycken som involverar Live Electronics. Live Electronics är ett begrepp som innefattar elektronik som används för att generera, processera eller modifiera ljud i realtid. Den taktila display som användes i denna studie var uppbyggd av två roterande excentriska massor, drivna av en pulsbreddsmodulerad signal som genereras av en Arduino mikrokontroller. Accelerometermätningar och tre användarbaserade studier genomfördes för att undersöka följande: intensitet och spektral toppfrekvens som funktion av pulskvot, sensorisk tröskel och intensitetsdiskriminering mellan presenterade stimuli, samt JND i millisekunder för två efterföljande taktila stimuli. Erhållna resultat analyserades varefter riktlinjer för design av perceptuellt robusta signaler för vår taktila display sattes upp. I slutfasen av studien designades åtta taktila signaler, varefter en användarbaserad studie genomfördes för att uppskatta hur lätta dessa signaler var att identifiera. En genomsnittlig identifikationsnivå på 74 % kunde noteras. Baserat på ovan beskrivna resultat utvecklades slutligen en taktil modulprototyp i form av ett bibliotek av fördefinierade taktila stimuli. Denna prototyp inkluderande även en funktion som gav användaren möjlighet att designa och skräddarsy egna taktila signaler.

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Beamish, Timothy Mark Edward. „D’Groove - a novel digital haptic turntable for music control“. Thesis, 2003. http://hdl.handle.net/2429/15212.

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Disc Jockeys (DJs) use creative methods to play pre-recorded music at social events. Their tools, however, are relatively archaic and there is a desire for advanced equipment with the capacity to increase the level of creativity involved in a DJ's performance. The overall goal of the work described here is to create an advanced DJ system that promotes creativity, allows control of digital music and improves upon previous DJ tools. This thesis begins with an analysis of DJs using conventional tools and procedures, followed by a discussion of previous attempts to upgrade DJ technology. These findings led to our first prototype controller, D'Groove, a novel digital DJ system with haptic, visual and auditory interaction. Experienced DJs from a variety of specializations tested our prototype, resulting in useful feedback and the discovery of some exciting new expressive uses that we had not intended. They discussed the technological needs and wants of the next generation of DJs, providing input to our user-centered design strategy. While D'Groove is for DJs, the experiences of our experts provide insight to the general problem of interacting with digital media streams. The main contributions of this thesis are a description of the processes and tools used by DJs; the design and evaluation of D'Groove, an advanced user-oriented haptic DJ system for manipulating digital music; and a summary of guidelines for manipulating digital audio in general.

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Bücher zum Thema "Haptic music"

D’Errico, Lucia. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0003.

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There is no optical space in my experience of music. If I leave aside a spontaneous association of pitches with fields of colour (so flat and vibrant, though, that they acquire almost a haptic quality), the role of sight is relegated to the preliminary and purely intellectual moment of musical notation. The shape that delineates itself when listening to or making music is rather the blind density of my own body. It is a body subjected to forces of different magnitude that act from both inside and outside itself....

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Papetti, Stefano, und Charalampos Saitis. Musical Haptics. Springer, 2018.

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Papetti, Stefano, und Charalampos Saitis. Musical Haptics. Springer, 2019.

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Papetti, Stefano, und Charalampos Saitis. Musical Haptics. Saint Philip Street Press, 2020.

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Papetti, Stefano, und Charalampos Saitis. Musical Haptics. Saint Philip Street Press, 2020.

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Wolfe, Viola. Notebook Journal: Guitar - Make Your Own Kind of Music Invest 10 Minutes Daily to Writing Journal, Meditation, Wedding, Dream Journals, Lightweight Paper Diary, 110 Pages Daily Planner Undated for Women, Men, Kids, Teenage. Increase Productivity and Happin. Independently Published, 2021.

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Buchteile zum Thema "Haptic music"

Zhang, Yang, Di Li und Hongyang Yu. „Haptic Music Immersive System“. In Advances in Intelligent Information Hiding and Multimedia Signal Processing, 247–57. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-1057-9_24.

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Paté, Arthur, Nicolas d’Alessandro, Audrey Gréciet und Clémence Bruggeman. „TOuch ThE Music: Displaying Live Music into Vibration“. In Haptic and Audio Interaction Design, 3–13. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-15019-7_1.

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Bouwer, Anders, Simon Holland und Mat Dalgleish. „The Haptic Bracelets: Learning Multi-Limb Rhythm Skills from Haptic Stimuli While Reading“. In Music and Human-Computer Interaction, 101–22. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-2990-5_6.

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Armitage, Joanne, und Kia Ng. „Feeling Sound: Exploring a Haptic-Audio Relationship“. In Music, Mind, and Embodiment, 146–52. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_9.

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Merchel, Sebastian, und M. Ercan Altinsoy. „Auditory-Tactile Experience of Music“. In Springer Series on Touch and Haptic Systems, 123–48. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58316-7_7.

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Hwang, Inwook, und Seungmoon Choi. „Improved Haptic Music Player with Auditory Saliency Estimation“. In Haptics: Neuroscience, Devices, Modeling, and Applications, 232–40. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44193-0_30.

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Giordano, Marcello, John Sullivan und Marcelo M. Wanderley. „Design of Vibrotactile Feedback and Stimulation for Music Performance“. In Springer Series on Touch and Haptic Systems, 193–214. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58316-7_10.

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Giordano, Marcello, und Marcelo M. Wanderley. „Perceptual and Technological Issues in the Design of Vibrotactile-Augmented Interfaces for Music Technology and Media“. In Haptic and Audio Interaction Design, 89–98. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41068-0_10.

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Walther-Hansen, Mads, und Anders Eskildsen. „Forceful action and interaction in non-haptic music interfaces“. In Innovation in Music: Technology and Creativity, 253–66. London: Focal Press, 2024. http://dx.doi.org/10.4324/9781003118817-18.

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Kanebako, Junichi, und Kouta Minamizawa. „VibGrip++: Haptic Device Allows Feeling the Music for Hearing Impaired People“. In Lecture Notes in Electrical Engineering, 449–52. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4157-0_75.

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Konferenzberichte zum Thema "Haptic music"

Armitage, Joanne, und Kia Ng. „Configuring a Haptic Interface for Music Performance“. In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.4.

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Baijal, Anant, Julia Kim, Carmen Branje, Frank Russo und Deborah I. Fels. „Composing vibrotactile music: A multi-sensory experience with the emoti-chair“. In 2012 IEEE Haptics Symposium (HAPTICS). IEEE, 2012. http://dx.doi.org/10.1109/haptic.2012.6183839.

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Fujimoto, Emily, und Matthew Turk. „Non-Visual Navigation Using Combined Audio Music and Haptic Cues“. In ICMI '14: INTERNATIONAL CONFERENCE ON MULTIMODAL INTERACTION. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2663204.2663243.

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Allen, Meghan, Jennifer Gluck, Karon MacLean und Erwin Tang. „An initial usability assessment for symbolic haptic rendering of music parameters“. In the 7th international conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1088463.1088506.

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Taylor, Tanasha, Shana Smith und Karljohan L. Palmerius. „A Virtual Harp for Therapy in an Augmented Reality Environment“. In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-50034.

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The goal of this research study was to develop a music therapy tool using a computer-generated harp which could provide users with visual, audio, and haptic feedback during interaction with the virtual instrument. Realistic 3D visual and haptic feedback was provided through immersion in a portable augmented reality-based system composed of a video see-through head mounted display (HMD) and a Sensable Phantom Omni haptic device. Users play the virtual harp by using the Phantom Omni haptic device to pluck or strum the strings of the harp. Users can also freely move the harp in the augmented reality environment to provide a more realistic experience, similar to that of playing a traditional musical instrument. The system will be used to provide interactive musical experiences and to develop motor skills among individuals with disabilities through music therapy. A virtual therapist feature was developed which can be used by a therapist without musical knowledge to observe a user during therapy exercises or by a user to engage in self-motivated therapy exercises outside the therapy room. With the virtual therapy feature, users can follow a simple pre-determined sequence of notes using color-coded strings. User testing was completed to study usability, therapeutic effectiveness, and patients’ therapy motivation.

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Hwang, Inwook, Hyungki Son und Jin Ryong Kim. „AirPiano: Enhancing music playing experience in virtual reality with mid-air haptic feedback“. In 2017 IEEE World Haptics Conference (WHC). IEEE, 2017. http://dx.doi.org/10.1109/whc.2017.7989903.

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Yuksel, Kamer Ali, Hamed Ketabdar und Mehran Roshandel. „Towards digital music performance for mobile devices based on magnetic interaction“. In 2010 IEEE International Workshop on Haptic Audio Visual Environments and Games (HAVE 2010). IEEE, 2010. http://dx.doi.org/10.1109/have.2010.5623990.

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Chen, Carie, Carol Chen und Justin Lou. „Enhancing Musical Accessibility: A Novel Device for Individuals with Hearing Impairments using Vibrations and LED Lights Synchronized with Music Tempo“. In 12th International Conference on Software Engineering & Trends. Academy & Industry Research Collaboration Center, 2024. http://dx.doi.org/10.5121/csit.2024.140809.

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Our project is centered on the concept of making music accessible to all individuals, including those with hearing impairments. Music can often play a large role in many lives, able to serve as a source of emotional comfort for many. As the numbers of hearingimpaired individuals rise significantly each year, it is important to enhance accessibility within their lives, including ways to experience the joy of music. By creating a device with vibrations and LED lights that sync with the beat/tempo of each song, this new way of music is easily accessible to all, especially to those with hearing impairments [7]. Leveraging our coding skills, we designed a program that could analyze a specific audio file. The analyzed information is then sent to our raspberry pi, connected to a haptic controller and LED lights through GPIO pins, this allows an easily accessible and functioning process for all users [8].

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Giroux, Felix, Jared Boasen, Sylvain Senecal, Marc Fredette, Armel Quentin Tchanou, Jean-Francois Menard, Michel Paquette und Pierre-Majorique Leger. „Haptic Stimulation with High Fidelity Vibro-Kinetic Technology Psychophysiologically Enhances Seated Active Music Listening Experience“. In 2019 IEEE World Haptics Conference (WHC). IEEE, 2019. http://dx.doi.org/10.1109/whc.2019.8816115.

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Yogeswaran, Arjun, Pierre Payeur und Jiying Zhao. „Content-adaptive musical audio watermarking based on the music theory of chords“. In 2009 IEEE International Workshop on Haptic Audio visual Environments and Games (HAVE 2009). IEEE, 2009. http://dx.doi.org/10.1109/have.2009.5356127.

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