Journal articles: 'Vibrotactile music'

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Remache-Vinueza, Byron, Andrés Trujillo-León, Mireya Zapata, Fabián Sarmiento-Ortiz, and Fernando Vidal-Verdú. "Audio-Tactile Rendering: A Review on Technology and Methods to Convey Musical Information through the Sense of Touch." Sensors 21, no. 19 (September 30, 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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Verrillo, Ronald T. "Vibration Sensation in Humans." Music Perception 9, no. 3 (1992): 281–302. http://dx.doi.org/10.2307/40285553.

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The proposition that the performer of music can use vibrotactile sensations to supplement auditory cues as feedback signals in order to enhance tonal control of the instrument is examined. As a basis for evaluating this proposition, we present some fundamental characteristics of human vibrotactile sensation, including measurements at the threshold of detectability, at suprathreshold levels, and of subject variables that could affect sensation. It is reasonable to assume that the sensory capacities of skin could enable tactile feedback cues to be used by singers and some instrumentalists in controlling the tone of their instruments.

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Berdahl, Edgar J., Austin Franklin, and Eric Sheffield. "A Spatially Distributed Vibrotactile Actuator Array (SDVAA) for music-to-vibrotactile sensory augmentation." Journal of the Acoustical Society of America 145, no. 3 (March 2019): 1710. http://dx.doi.org/10.1121/1.5101273.

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Aker, Scott C., Hamish Innes-Brown, Kathleen F. Faulkner, Marianna Vatti, and Jeremy Marozeau. "Effect of audio-tactile congruence on vibrotactile music enhancement." Journal of the Acoustical Society of America 152, no. 6 (December 2022): 3396–409. http://dx.doi.org/10.1121/10.0016444.

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Music listening experiences can be enhanced with tactile vibrations. However, it is not known which parameters of the tactile vibration must be congruent with the music to enhance it. Devices that aim to enhance music with tactile vibrations often require coding an acoustic signal into a congruent vibrotactile signal. Therefore, understanding which of these audio-tactile congruences are important is crucial. Participants were presented with a simple sine wave melody through supra-aural headphones and a haptic actuator held between the thumb and forefinger. Incongruent versions of the stimuli were made by randomizing physical parameters of the tactile stimulus independently of the auditory stimulus. Participants were instructed to rate the stimuli against the incongruent stimuli based on preference. It was found making the intensity of the tactile stimulus incongruent with the intensity of the auditory stimulus, as well as misaligning the two modalities in time, had the biggest negative effect on ratings for the melody used. Future vibrotactile music enhancement devices can use time alignment and intensity congruence as a baseline coding strategy, which improved strategies can be tested against.

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Egloff, Deborah, Jonas Braasch, Philip Robinson, Doug Van Nort, and Ted Krueger. "A vibrotactile music system based on sensory substitution." Journal of the Acoustical Society of America 129, no. 4 (April 2011): 2582. http://dx.doi.org/10.1121/1.3588537.

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Aker, Scott C., Kathleen F. Faulkner, Hamish Innes-Brown, Marianna Vatti, and Jeremy Marozeau. "Some, but not all, cochlear implant users prefer music stimuli with congruent haptic stimulation." Journal of the Acoustical Society of America 155, no. 5 (May 1, 2024): 3101–17. http://dx.doi.org/10.1121/10.0025854.

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Cochlear implant (CI) users often report being unsatisfied by music listening through their hearing device. Vibrotactile stimulation could help alleviate those challenges. Previous research has shown that musical stimuli was given higher preference ratings by normal-hearing listeners when concurrent vibrotactile stimulation was congruent in intensity and timing with the corresponding auditory signal compared to incongruent. However, it is not known whether this is also the case for CI users. Therefore, in this experiment, we presented 18 CI users and 24 normal-hearing listeners with five melodies and five different audio-to-tactile maps. Each map varied the congruence between the audio and tactile signals related to intensity, fundamental frequency, and timing. Participants were asked to rate the maps from zero to 100, based on preference. It was shown that almost all normal-hearing listeners, as well as a subset of the CI users, preferred tactile stimulation, which was congruent with the audio in intensity and timing. However, many CI users had no difference in preference between timing aligned and timing unaligned stimuli. The results provide evidence that vibrotactile music enjoyment enhancement could be a solution for some CI users; however, more research is needed to understand which CI users can benefit from it most.

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Venkatesan, Tara, and 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, no. 4 (July 10, 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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Hiraba, Hisao, Motoharu Inoue, Kanako Gora, Takako Sato, Satoshi Nishimura, Masaru Yamaoka, Ayano Kumakura, et al. "Facial Vibrotactile Stimulation Activates the Parasympathetic Nervous System: Study of Salivary Secretion, Heart Rate, Pupillary Reflex, and Functional Near-Infrared Spectroscopy Activity." BioMed Research International 2014 (2014): 1–9. http://dx.doi.org/10.1155/2014/910812.

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We previously found that the greatest salivation response in healthy human subjects is produced by facial vibrotactile stimulation of 89 Hz frequency with 1.9 μm amplitude (89 Hz-S), as reported by Hiraba et al. (2012, 20011, and 2008). We assessed relationships between the blood flow to brain via functional near-infrared spectroscopy (fNIRS) in the frontal cortex and autonomic parameters. We used the heart rate (HRV: heart rate variability analysis in RR intervals), pupil reflex, and salivation as parameters, but the interrelation between each parameter and fNIRS measures remains unknown. We were to investigate the relationship in response to established paradigms using simultaneously each parameter-fNIRS recording in healthy human subjects. Analysis of fNIRS was examined by a comparison of various values between before and after various stimuli (89 Hz-S, 114 Hz-S, listen to classic music, and “Ahh” vocalization). We confirmed that vibrotactile stimulation (89 Hz) of the parotid glands led to the greatest salivation, greatest increase in heart rate variability, and the most constricted pupils. Furthermore, there were almost no detectable differences between fNIRS during 89 Hz-S and fNIRS during listening to classical music of fans. Thus, vibrotactile stimulation of 89 Hz seems to evoke parasympathetic activity.

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Egloff, Deborah, Jonas Braasch, Phil Robinson, Doug Van Nort, Pauline Oliveros, and Ted Krueger. "Vibrotactile music systems for co-located and telematic performance." Journal of the Acoustical Society of America 131, no. 4 (April 2012): 3331. http://dx.doi.org/10.1121/1.4708466.

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Alves Araujo, Felipe, Fabricio Lima Brasil, Allison Candido Lima Santos, Luzenildo de Sousa Batista Junior, Savio Pereira Fonseca Dutra, and Carlos Eduardo Coelho Freire Batista. "Auris System: Providing Vibrotactile Feedback for Hearing Impaired Population." BioMed Research International 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/2181380.

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Deafness, an issue that affects millions of people around the globe, is manifested in different intensities and related to many causes. This impairment negatively affects different aspects of the social life of the deaf people, and music-centered situations (concerts, religious events, etc.) are obviously not inviting for them. The Auris System was conceived to provide the musical experimentation for people who have some type of hearing loss. This system is able to extract musical information from audio and create a representation for music pieces using different stimuli, a new media format to be interpreted by other senses than the hearing. In addition, the system defines a testing methodology based on a noninvasive brain activity recording using an electroencephalographic (EEG) device. The results of the tests are being used to better understand the human musical cognition, in order to improve the accuracy of the Auris musical representation.

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Hayes, Lauren, and Christos Michalakos. "Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion." Organised Sound 17, no. 1 (February 14, 2012): 36–44. http://dx.doi.org/10.1017/s1355771811000495.

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This paper describes the implementation ofNeVIS, a local network system that establishes communication between individual performers, as well as between laptop and performers. Specifically, this is achieved by making use of vibrotactile feedback as a signalling tool within an improvisational setting. A discussion of the current developments regarding the use of networks within improvisation is presented, followed by an outline of the benefits of utilising the haptic feedback channel as a further sensory information pathway when performing digital music. We describe a case study of the system within the context of our computer-mediated improvisational duo Můstek, involving piano, percussion and live electronics. Here, a cueing system or framework is imposed over the improvisation and is transmitted directly to the skin of the performers via tiny vibrations. Additionally, performers may make use of simple vibrotactile signals to enhance traditional visual cues that are often employed within performance. A new work,Socks and Ammo, was created using NeVIS, and was presented at various international conferences and festivals. We also tested the system itself within a group of postgraduate researchers and composers. Qualitative evaluation of the musical outcomes as experienced both by the performers and by the listeners at these events is offered, as well as implications about the nature of collaborative music-making.

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Lu, Leon. "Learning Music Blind: Understanding the Application of Technology to Support BLV Music Learning." ACM SIGACCESS Accessibility and Computing, no. 135 (January 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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Järveläinen, Hanna, Stefano Papetti, and Eric Larrieux. "Exploring the Effects of Additional Vibration on the Perceived Quality of an Electric Cello." Vibration 7, no. 2 (April 30, 2024): 407–18. http://dx.doi.org/10.3390/vibration7020021.

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Haptic feedback holds the potential to enhance the engagement and expressivity of future digital and electric musical instruments. This study investigates the impact of artificial vibration on the perceived quality of a silent electric cello. We developed a haptic cello prototype capable of rendering vibration signals of varying degree of congruence with the produced sound. Experienced cellists participated in an experiment comparing setups with and without vibrotactile feedback, rating them on preference, perceived power, liveliness, and feel. Results show nuanced effects, with added vibrations moderately enhancing feel and liveliness, and significantly increasing perceived power when using vibrations obtained from the pickup at the cello’s bridge. High uncertainty in our statistical model parameters underscores substantial individual differences in the participants responses, as commonly found in qualitative assessments, and highlights the importance of consistent feedback in the vibrotactile and auditory channels. Our findings contribute valuable insights to the intersection of haptics and music technology, paving the way for creating richer and more engaging experiences with future musical instruments.

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Frid, Emma. "Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice." Multimodal Technologies and Interaction 3, no. 3 (July 26, 2019): 57. http://dx.doi.org/10.3390/mti3030057.

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Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (14.5%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams.

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Branje, Carmen, and Deborah I. Fels. "Playing vibrotactile music: A comparison between the Vibrochord and a piano keyboard." International Journal of Human-Computer Studies 72, no. 4 (April 2014): 431–39. http://dx.doi.org/10.1016/j.ijhcs.2014.01.003.

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Askenfelt, Anders, and Erik V. Jansson. "On Vibration Sensation and Finger Touch in Stringed Instrument Playing." Music Perception 9, no. 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.

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The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.

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Frisson, Christian, and Marcelo M. Wanderley. "Challenges and Opportunities of Force Feedback in Music." Arts 12, no. 4 (July 10, 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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Biesmans, Sander, and Panos Markopoulos. "Design and Evaluation of SONIS, a Wearable Biofeedback System for Gait Retraining." Multimodal Technologies and Interaction 4, no. 3 (August 28, 2020): 60. http://dx.doi.org/10.3390/mti4030060.

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Herein, we introduce SONIS, a wearable system to support gait rehabilitation training after a lower extremity trauma, which combines a sensing sock with a smartphone application. SONIS provides interactive, corrective, real-time feedback combining visual and auditory cues. We report the design of SONIS and its evaluation by patients and therapists, which indicates acceptance by targeted users, credibility as a rehabilitation tool, and a positive user experience. SONIS demonstrates how to successfully combine a number of feedback strategies and modalities: graphical, verbal, and music feedback on gait quality during training (knowledge of performance) and verbal and vibrotactile feedback on gait tracking (knowledge of results).

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Suzuki, Yasuhiro. "The Effect of Non-audible Low Frequency, Deep Micro Vibrotactile, DMV Sounds on Music." Proceedings of International Conference on Artificial Life and Robotics 27 (January 20, 2022): 592–94. http://dx.doi.org/10.5954/icarob.2022.os18-2.

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Paisa, Razvan, Doga Cavdir, Francesco Ganis, Peter Williams, Lone M. Percy-Smith, and Stefania Serafin. "Design and Evaluation of a Multisensory Concert for Cochlear Implant Users." Arts 12, no. 4 (July 10, 2023): 149. http://dx.doi.org/10.3390/arts12040149.

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This article describes the design, implementation, and evaluation of vibrotactile concert furniture, aiming to improve the live music experience of people with hearing loss using hearing technology such as cochlear implants (CI). The system was the result of a series of participatory design sessions involving CI users with different hearing assistive setups (bi-implant, bimodal, and monoimplant), and it was evaluated in a concert scenario (drums, bass, and female vocals) at the Royal Danish Academy of Music. The project aimed to improve the music appreciation for CI users by providing a multisensory concert designed with CI challenges in mind, but not excluding normal-hearing individuals or individuals with other forms of hearing aids from participating in the event. The evaluation was based on (video-recorded) observations and postexperience semistructured interviews; the data were analyzed using event analysis and meaning condensation. The results indicate that tactile augmentation provides a pleasant experience for CI users. However, concertgoers with residual hearing reported being overwhelmed if the tactile stimulation amplitude exceeds a certain threshold. Furthermore, devices that highlight instrument segregation are preferred over ones that present a tactile mixdown of multiple auditory streams.

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Haynes, Alice, Jonathan Lawry, Christopher Kent, and Jonathan Rossiter. "FeelMusic: Enriching Our Emotive Experience of Music through Audio-Tactile Mappings." Multimodal Technologies and Interaction 5, no. 6 (May 31, 2021): 29. http://dx.doi.org/10.3390/mti5060029.

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We present and evaluate the concept of FeelMusic and evaluate an implementation of it. It is an augmentation of music through the haptic translation of core musical elements. Music and touch are intrinsic modes of affective communication that are physically sensed. By projecting musical features such as rhythm and melody into the haptic domain, we can explore and enrich this embodied sensation; hence, we investigated audio-tactile mappings that successfully render emotive qualities. We began by investigating the affective qualities of vibrotactile stimuli through a psychophysical study with 20 participants using the circumplex model of affect. We found positive correlations between vibration frequency and arousal across participants, but correlations with valence were specific to the individual. We then developed novel FeelMusic mappings by translating key features of music samples and implementing them with “Pump-and-Vibe”, a wearable interface utilising fluidic actuation and vibration to generate dynamic haptic sensations. We conducted a preliminary investigation to evaluate the FeelMusic mappings by gathering 20 participants’ responses to the musical, tactile and combined stimuli, using valence ratings and descriptive words from Hevner’s adjective circle to measure affect. These mappings, and new tactile compositions, validated that FeelMusic interfaces have the potential to enrich musical experiences and be a means of affective communication in their own right. FeelMusic is a tangible realisation of the expression “feel the music”, enriching our musical experiences.

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Young, Gareth W., Dave Murphy, and Jeffrey Weeter. "Haptics in Music: The Effects of Vibrotactile Stimulus in Low Frequency Auditory Difference Detection Tasks." IEEE Transactions on Haptics 10, no. 1 (January 1, 2017): 135–39. http://dx.doi.org/10.1109/toh.2016.2646370.

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Tachiiri, Motoki, Yoshihiro Tanaka, and Akihito Sano. "Modulation of Velocity Perception by Engine Vibration While Driving." Journal of Robotics and Mechatronics 33, no. 1 (February 20, 2021): 129–40. http://dx.doi.org/10.20965/jrm.2021.p0129.

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While driving a vehicle, perceiving velocity is important for appropriate operation and is one of the most important factors for preventing collisions and traffic congestion. In contexts where perceiving velocity changes is difficult, such as on an undulating road, the velocity may exceed the speed limit or traffic congestion may occur due to heavy braking to avoid a collision. Hence, we proposed a method of modulating the perception of velocity through tactile stimulation to promote adequate operation for the driver. In contrast to methods using visual and auditory stimulation, this method has advantages of not increasing the visual cognitive load, not disturbing the enjoyment of music, and reliably stimulating the driver. In this study, we constructed a velocity perception model based on vibrotactile stimulation induced by the engine speed and proposed a method of changing the vibrotactile stimulation by altering the shift position of the transmission to modulate the perception of velocity without additional vibration actuators, regardless of the actual velocity. We measured the seat and engine vibration using two different vehicles. The results demonstrated that the peak acceleration frequencies are proportional to engine speed, indicating that the vibration depends upon the engine speed, not the velocity. We implemented a method of changing the shift position in an actual vehicle and verified the feasibility of the method through a psychophysical experiment. The results showed that drivers perceived a higher velocity with increasing engine speed and lower velocity with decreasing engine speed.

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TANAKA, Kei, Hikaru NAGANO, Shogo OKAMOTO, Yuichi TAZAKI, and Yasuyoshi YOKOKOHJI. "Investigation of the effects of vibrotactile stimuli converted from music on changes in emotion over time." Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2023 (2023): 1A1—H10. http://dx.doi.org/10.1299/jsmermd.2023.1a1-h10.

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Patiño-Lakatos, Gabriela, Hugues Genevois, Benoît Navarret, Irema Barbosa-Magalhaes, Cristina Lindenmeyer, Maurice Corcos, and Aurélie Letranchant. "Music, Vibrotactile Mediation and Bodily Sensations in Anorexia Nervosa: "It's Like I can Really Feel My Heart Beating"." Human Technology 16, no. 3 (November 30, 2020): 372–405. http://dx.doi.org/10.17011/ht/urn.202011256769.

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This article presents the theoretical, scientific, and methodological foundations for the design and implementation of an innovative technological and clinical platform that combined sound, music, and vibrotactile mediation used in a therapeutic setting by adolescents suffering from anorexia nervosa. In 2019, we carried out a pilot experiment with a group of 8 adolescent patients hospitalized in the Eating Disorders Unit of the Department of Adolescent and Young Adult Psychiatry of the Institut Mutualiste Montsouris in Paris. Within this clinical framework, we aimed to create conditions suitable for patients to reinvest in their “disaffected” bodily zones and internal experiences through reflecting on the sensations, emotions, and ideas generated by the sensory experiences created when sound and musical stimuli are transmitted through vibrations. The findings demonstrate the ways in which adolescent patients made use of the platform’s audiovibrotactile mediating objects to express a personal associative process through speech during their exchanges with clinical psychologists.

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Madsen, C. K., J. M. Standley, and D. Gregory. "The Effect of a Vibrotactile Device, Somatron , on Physiological and Psychological Responses: Musicians versus Nonmusicians." Journal of Music Therapy 28, no. 1 (March 1, 1991): 14–22. http://dx.doi.org/10.1093/jmt/28.1.14.

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Brodsky, W., and J. A. Sloboda. "Clinical Trial of a Music Generated Vibrotactile Therapeutic Environment for Musicians: Main Effects and Outcome Differences Between Therapy Subgroups." Journal of Music Therapy 34, no. 1 (March 1, 1997): 2–32. http://dx.doi.org/10.1093/jmt/34.1.2.

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Standley, J. M. "The Effect of Vibrotactile and Auditory Stimuli on Perception of Comfort, Heart Rate, and Peripheral Finger Temperature." Journal of Music Therapy 28, no. 3 (September 1, 1991): 120–34. http://dx.doi.org/10.1093/jmt/28.3.120.

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Walters, C. L. "The Psychological and Physiological Effects of Vibrotactile Stimulation, Via a Somatron, on Patients Awaiting Scheduled Gynecological Surgery." Journal of Music Therapy 33, no. 4 (December 1, 1996): 261–87. http://dx.doi.org/10.1093/jmt/33.4.261.

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Darrow, A. A., and H. Goll. "The Effect of Vibrotactile Stimuli via the SOMATRON on the Identification of Rhythmic Concepts by Hearing Impaired Children." Journal of Music Therapy 26, no. 3 (September 1, 1989): 115–24. http://dx.doi.org/10.1093/jmt/26.3.115.

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Darrow, A. A. "The Effect of Vibrotactile Stimuli via the SOMATRON on the Identification of Pitch Change by Hearing Impaired Children." Journal of Music Therapy 29, no. 2 (June 1, 1992): 103–12. http://dx.doi.org/10.1093/jmt/29.2.103.

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Hodges, Aaron, Raymond L. Goldsworthy, Matthew B. Fitzgerald, and Takako Fujioka. "Transfer effects of discrete tactile mapping of musical pitch on discrimination of vocoded stimuli." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A229. http://dx.doi.org/10.1121/10.0016101.

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Many studies have found benefits of using somatosensory modality to augment sound information for individuals with hearing loss. However, few studies have explored the use of multiple regions of the body sensitive to vibrotactile stimulation to convey discrete F0 information, important for music perception. This study explored whether mapping of multiple finger patterns associated with musical notes can be learned quickly and transferred to discriminate vocoded auditory stimuli. Each of eight musical diatonic scale notes were associated with one of unique finger digits 2-5 patterns in the dominant hand, where pneumatic tactile stimulation apparatus were attached. The study consisted of a pre and post-test with a learning phase in-between. During the learning phase, normal-hearing participants had to identify common nursery song melodies presented with simultaneous auditory-tactile stimulus for about 10 min, using non-vocoded (original) audio. Pre- and post-tests examined stimulus discrimination for 4 conditions: original audio + tactile, tactile only, vocoded audio only, and vocoded audio + tactile. The audio vocoder used cochlear implant 4 channel simulation. Our results demonstrated audio-tactile learning improved participant’s performance on the vocoded audio + tactile tasks. The tactile only condition also significantly improved, indicating the rapid learning of the audio-tactile mapping and its effective transfer.

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Clair, A. A., and B. Bernstein. "A Comparison of Singing, Vibrotactile and Nonvibrotactile Instrumental Playing Responses in Severely Regressed Persons with Dementia of the Alzheimer's Type." Journal of Music Therapy 27, no. 3 (September 1, 1990): 119–25. http://dx.doi.org/10.1093/jmt/27.3.119.

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Pujol, K. K. "The Effect of Vibrotactile Stimulation, Instrumentation, and Precomposed Melodies on Physiological and Behavioral Responses of Profoundly Retarded Children and Adults." Journal of Music Therapy 31, no. 3 (September 1, 1994): 186–205. http://dx.doi.org/10.1093/jmt/31.3.186.

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Clair, A. A., and B. Bernstein. "The Preference for Vibrotactile Versus Auditory Stimuli in Severely Regressed Persons with Dementia of the Alzheimer's Type Compared to Those with Dementia due to Alcohol Abuse." Music Therapy Perspectives 11, no. 1 (January 1, 1993): 24–27. http://dx.doi.org/10.1093/mtp/11.1.24.

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Siedenburg, Kai, Michel Bürgel, Elif Özgür, Christoph Scheicht, and Stephan Töpken. "Vibrotactile enhancement of musical engagement." Scientific Reports 14, no. 1 (April 2, 2024). http://dx.doi.org/10.1038/s41598-024-57961-8.

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AbstractSound is sensed by the ear but can also be felt on the skin, by means of vibrotactile stimulation. Only little research has addressed perceptual implications of vibrotactile stimulation in the realm of music. Here, we studied which perceptual dimensions of music listening are affected by vibrotactile stimulation and whether the spatial segregation of vibrations improves vibrotactile stimulation. Forty-one listeners were presented with vibrotactile stimuli via a chair’s surfaces (left and right arm rests, back rest, seat) in addition to music presented over headphones. Vibrations for each surface were derived from individual tracks of the music (multi condition) or conjointly by a mono-rendering, in addition to incongruent and headphones-only conditions. Listeners evaluated unknown music from popular genres according to valence, arousal, groove, the feeling of being part of a live performance, the feeling of being part of the music, and liking. Results indicated that the multi- and mono vibration conditions robustly enhanced the nature of the musical experience compared to listening via headphones alone. Vibrotactile enhancement was strong in the latent dimension of ‘musical engagement’, encompassing the sense of being a part of the music, arousal, and groove. These findings highlight the potential of vibrotactile cues for creating intensive musical experiences.

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Hsu, Hsiu-Yun, Che-Wei Lin, Yu-Ching Lin, Po-Ting Wu, Hirokazu Kato, Fong-Chin Su, and Li-Chieh Kuo. "Effects of vibrotactile-enhanced music-based intervention on sensorimotor control capacity in the hand of an aging brain: a pilot feasibility randomized crossover trial." BMC Geriatrics 21, no. 1 (November 23, 2021). http://dx.doi.org/10.1186/s12877-021-02604-0.

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Abstract Background Music-based interventions (MBI), using music as a therapeutic medium, has been utilized as a promising strategy for motor relearning and shaping. However, currently, MBI with active performance training is restricted to being extensively applied for patients with various levels of defects in fine motor skills and cognitive functions. Therefore, the integration of vibrotactile stimulation with MBI has been adopted as a motor training strategy intended to enhance motor learning through use of vibration stimuli. The current study was designed to investigate differences in the sensorimotor performance of older adults’ hands under baseline, a single session of active MBI, and vibrotactile-enriched MBI conditions. Methods Thirty healthy older adults were recruited and randomized to receive either the single session of 30-min of vibrotactile-enriched MBI or 30-min of active MBI at the beginning of the experiment. After a one-week washout period, they switched their treatment programs and then were assessed to study the training effects of both approaches through measuring precision pinch performance, hand function, and sensory status. Results The results of the Pinch-Holding-Up Activity test revealed a statistically significant difference in the FRpeak parameter (F = 14.37, p < 0.001, η2p = 0.507) under the vibrotactile-enriched MBI condition compared to the baseline and active MBI conditions. In addition, significant beneficial effects were found on the results of the barognosis (F = 19.126, p < 0.001, η2p = 0. 577) and roughness differentiation subtests (F = 15.036, p < 0.001, η2p = 0.518) in the Manual Tactile Test for the participants in the vibrotactile-enriched MBI group. In addition, the participants under both the active MBI and vibrotactile-enriched MBI conditions exhibited better performance in the three subtests of the Purdue Pegboard Test as compared to under the baseline condition (p < 0.016). Conclusions The findings indicated that vibrotactile-enriched MBI potentially improves the precision pinch performance of hands in healthy older adults. In addition, the add-on effect of vibrotactile stimulation to the MBI condition provides beneficial effects on the sensory functions of the upper extremities. Trial registration NCT04802564. Date of registration: 15/03/2021. The first posted date: 17/03/2021.

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Fry, Adam, Stephen Braren, Nicholas Pitaro, Brandon Larson, and David Putrino. "Music Augmented With Isochronic Auditory Beats or Vibrotactile Stimulation Does Not Affect Subsequent Ergometer Cycling Performance: A Pilot Study." Frontiers in Human Neuroscience 15 (September 13, 2021). http://dx.doi.org/10.3389/fnhum.2021.713193.

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Methods to enhance the ergogenic effects of music are of interest to athletes of all abilities. The aim of this pilot study was to investigate the ergogenic effects of two commercially available methods of music augmentation: auditory beats and vibrotactile stimulation. Six male and five female cyclists/triathletes cycled for 7 minutes at three different intensities: a rate of perceived exertion (RPE) of 11 (“light”), RPE of 15 (“hard”), and a 7-minute time-trial. Before each 7-minute bout of cycling, participants listened to 10 minutes of self-selected music (MUS), or the same music with the addition of either isochronic auditory beats (ABS) or vibrotactile stimulation via SUBPACTM (VIB). MUS, ABS and VIB trials were performed in a randomized order. Power output was measured during cycling and felt arousal and feeling scores were recorded at timepoints throughout the protocol. The results found the augmented MUS interventions did not influence power output with no significant main effect of trial (p = 0.44, η2 = 0.09) or trial × cycling intensity interaction (p = 0.11, η2 = 0.20). Similarly, both felt arousal and feeling scores were unchanged between the MUS, ABS, and VIB trials (p > 0.05). In conclusion, this pilot study indicated an ineffectiveness of the ABS and VIB to affect subsequent 7-min cycling performance compared to self-selected MUS alone.

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Lu, Leon, Karen Anne Cochrane, Jin Kang, and Audrey Girouard. "”Why are there so many steps?”: Improving Access to Blind and Low Vision Music Learning through Personal Adaptations and Future Design Ideas." ACM Transactions on Accessible Computing, August 16, 2023. http://dx.doi.org/10.1145/3615663.

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Music can be a catalyst for self-development, creative expression, and community building for blind or low vision (BLV) individuals. However, BLV music learners face complex obstacles in learning music. They are highly reliant on their learning environment and music teachers for accommodations and flexibility. Prior research identified the challenges faced by BLV musicians. Yet, limited research has addressed these challenges through the development of technology. Drawing upon the experience and suggestions of 40 BLV professional musicians, amateur musicians and music teachers (including sighted teachers with experience teaching blind students), we identified five themes: (1) Key Challenges of BLV Music Learning, (2) Personal Adaptations to Overcome Music Learning Challenges, (3) Perspectives on Current and Future Assistive Technologies, (4) Contention Between Braille Music and Auditory Learning and (5) Role of Human Support for Music Learning. Together, these findings outline a path to make music learning more accessible to BLV people. To this end, we describe opportunities for enhanced audio cues for musical communication, recommend integrating vibrotactile feedback to aid music reading and design technology that supports independence and interdependence in music learning.

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Patiño-Lakatos, Gabriela, Hugues Genevois, and Benoît Navarret. "From Vibrotactile Sensation to Semiotics. Mediations for The Experience of Music." Hybrid, no. 6 (November 4, 2019). http://dx.doi.org/10.4000/hybrid.567.

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Ævarsson, Elvar Atli, Thórhildur Ásgeirsdóttir, Finnur Pind, Árni Kristjánsson, and Runar Unnthorsson. "Vibrotactile Threshold Measurements at the Wrist Using Parallel Vibration Actuators." ACM Transactions on Applied Perception, May 27, 2022. http://dx.doi.org/10.1145/3529259.

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This paper presents an investigation into the perceptual vibrotactile thresholds for a range of frequencies on both the inside and outside areas of the wrist when exciting the skin with parallel vibrations, realized using the L5 actuator made by Lofelt GmbH. The vibrotactile threshold of 30 participants was measured using a modified audiometry test for the frequency range of 25 - 1000 Hz. The average threshold across the respective frequencies was then ultimately determined from acceleration minima. The results show that maximum sensitivity lies in the range of 100 - 275 Hz (peaking at 200 Hz) for the inside and 75 - 250 Hz (peaking at 125 Hz) for the outside of the wrist and that thresholds are overall higher for the hairy skin on the outside of the wrist than for the glabrous skin on the inside. The results also show that the vibrotactile thresholds varied highly between individuals. Hence, personalized threshold measurements at the actuator locations will be required in order to fine tune a device for the user. This study is a part of an on-going research and development project where the aim is to develop a tactile display device and a music encoding scheme with the purpose of augmenting the musical enjoyment of cochlear implant recipients. These results, along with results from planned follow-up experiments, will be used to determine the appropriate frequency range and to cast light on the dynamic range on offer for the tactile device.

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Tranchant, Pauline, Martha M. Shiell, Marcello Giordano, Alexis Nadeau, Isabelle Peretz, and Robert J. Zatorre. "Feeling the Beat: Bouncing Synchronization to Vibrotactile Music in Hearing and Early Deaf People." Frontiers in Neuroscience 11 (September 12, 2017). http://dx.doi.org/10.3389/fnins.2017.00507.

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Hayes, Lauren, Xin Luo, Kathryn R. Pulling, Assegid Kidane, Gabriella Isaac, Dominic Bonelli, Rhiannon Nabours, and Kiana Gerard. "Multimodal Listening as Technologically-Mediated Embodied Musicking." openwork 1, no. 1 (May 14, 2023). http://dx.doi.org/10.52214/ow.v1i1.8682.

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This paper discusses an approach to multimodal listening that draws upon three disparate but related areas of research: the creative music practice of the first author, quantitative evaluation of vibrotactile technology within speech and hearing science aimed at improving music perception and enjoyment for cochlear implant users, and a qualitative study involving the musical experiences of people who routinely wear a variety of assistive hearing technologies. It proposes that listening is an active, embodied process, taking place within the diverse sensorimotor, sociocultural, and aesthetic relationships between listeners and their worlds. These ideas are explored through observations of musical listening experiences that are technologically-mediated in various ways: they are ones which incorporate both the sonic and the tactile, but which do not aim to simply substitute one sensory modality for another. This project is intentionally interdisciplinary in its methodologies with the goal of illuminating how research approaches that work in tension can be productively inventive.

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Hopkins, Carl, Saúl Maté-Cid, Robert Fulford, Gary Seiffert, and Jane Ginsborg. "Perception and learning of relative pitch by musicians using the vibrotactile mode." Musicae Scientiae, June 3, 2021, 102986492110152. http://dx.doi.org/10.1177/10298649211015278.

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This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.

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Alemi, Razieh, Jace Wolfe, Sara Neumann, Jacy Manning, Lindsay Hanna, Will Towler, Caleb Wilson, et al. "Motor Processing in Children With Cochlear Implants as Assessed by Functional Near-Infrared Spectroscopy." Perceptual and Motor Skills, November 17, 2023. http://dx.doi.org/10.1177/00315125231213167.

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Auditory-motor and visual-motor networks are often coupled in daily activities, such as when listening to music and dancing; but these networks are known to be highly malleable as a function of sensory input. Thus, congenital deafness may modify neural activities within the connections between the motor, auditory, and visual cortices. Here, we investigated whether the cortical responses of children with cochlear implants (CI) to a simple and repetitive motor task would differ from that of children with typical hearing (TH) and we sought to understand whether this response related to their language development. Participants were 75 school-aged children, including 50 with CI (with varying language abilities) and 25 controls with TH. We used functional near-infrared spectroscopy (fNIRS) to record cortical responses over the whole brain, as children squeezed the back triggers of a joystick that vibrated or not with the squeeze. Motor cortex activity was reflected by an increase in oxygenated hemoglobin concentration (HbO) and a decrease in deoxygenated hemoglobin concentration (HbR) in all children, irrespective of their hearing status. Unexpectedly, the visual cortex (supposedly an irrelevant region) was deactivated in this task, particularly for children with CI who had good language skills when compared to those with CI who had language delays. Presence or absence of vibrotactile feedback made no difference in cortical activation. These findings support the potential of fNIRS to examine cognitive functions related to language in children with CI.

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Journal articles on the topic 'Vibrotactile music'

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