Artículos de revistas: "Haptic music"

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Kontogeorgakopoulos, Alexandros. "Music, Art Installations and Haptic Technology". Arts 12, n.º 4 (7 de julio de 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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2

Remache-Vinueza, Byron, Andrés Trujillo-León, Mireya Zapata, Fabián Sarmiento-Ortiz y Fernando Vidal-Verdú. "Audio-Tactile Rendering: A Review on Technology and Methods to Convey Musical Information through the Sense of Touch". Sensors 21, n.º 19 (30 de septiembre de 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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3

Frisson, Christian y Marcelo M. Wanderley. "Challenges and Opportunities of Force Feedback in Music". Arts 12, n.º 4 (10 de julio de 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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4

Young, Gareth W., Néill O’Dwyer, Mauricio Flores Vargas, Rachel Mc Donnell y Aljosa Smolic. "Feel the Music!—Audience Experiences of Audio–Tactile Feedback in a Novel Virtual Reality Volumetric Music Video". Arts 12, n.º 4 (13 de julio de 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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5

Venkatesan, Tara y 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, n.º 4 (10 de julio de 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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6

Dörr, Bianka, Farzaneh Norouzinia, Kristin Altmeyer y Dirk Werth. "Haptic Technology in Digital Music Learning Context: A State-of-the-Art Analysis". European Conference on e-Learning 21, n.º 1 (21 de octubre de 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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7

Asakawa, Takashi y Noriyuki Kawarazaki. "Communication Method of Time Synchronization and Strength Using Haptic Interface". Journal of Robotics and Mechatronics 26, n.º 6 (20 de diciembre de 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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8

Lu, Leon. "Learning Music Blind: Understanding the Application of Technology to Support BLV Music Learning". ACM SIGACCESS Accessibility and Computing, n.º 135 (enero de 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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9

Rebelo, Pedro. "Haptic sensation and instrumental transgression". Contemporary Music Review 25, n.º 1-2 (febrero de 2006): 27–35. http://dx.doi.org/10.1080/07494460600647402.

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10

Paterson, Justin y Marcelo M. Wanderley. "Feeling the Future—Haptic Audio: Editorial". Arts 12, n.º 4 (7 de julio de 2023): 141. http://dx.doi.org/10.3390/arts12040141.

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11

Järveläinen, Hanna, Stefano Papetti y Eric Larrieux. "Exploring the Effects of Additional Vibration on the Perceived Quality of an Electric Cello". Vibration 7, n.º 2 (30 de abril de 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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12

MacDonald, Calum. "Haptic indeed: recent Wolfgang Rihm CDs". Tempo 57, n.º 225 (julio de 2003): 50–54. http://dx.doi.org/10.1017/s004029820327025x.

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13

Hayes, Lauren. "Haptic Augmentation of the Hybrid Piano". Contemporary Music Review 32, n.º 5 (octubre de 2013): 499–509. http://dx.doi.org/10.1080/07494467.2013.849877.

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14

Pala, Ferhat Kadir y Pınar Mıhcı Türker. "Developing a haptic glove for basic piano education". World Journal on Educational Technology: Current Issues 11, n.º 1 (11 de febrero de 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.4008.

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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.Keywords: Music education, haptic glove, piano education, passive haptic learning.*

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15

Haynes, Alice, Jonathan Lawry, Christopher Kent y Jonathan Rossiter. "FeelMusic: Enriching Our Emotive Experience of Music through Audio-Tactile Mappings". Multimodal Technologies and Interaction 5, n.º 6 (31 de mayo de 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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16

Karpodini, Christina. "Evaluating Haptic Technology in Accessibility of Digital Audio Workstations for Visually Impaired Creatives". ACM SIGACCESS Accessibility and Computing, n.º 135 (enero de 2023): 1. http://dx.doi.org/10.1145/3584732.3584738.

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This research suggests new ways of making interaction with Digital Audio Workstations more accessible for musicians with visual impairments. Accessible tools such as screen reader are often unable to support users within the music production environment. Haptic technologies have been proposed as solutions but are often generic and not address the needs of the individual. A series of experiments is being suggested to examine the possibilities of mapping haptic feedback to audio effects parameters. Sequentially, the use of machine learning is being suggested in order enable automated mapping and expand accessibility to the individual. The expected results will provide visually impaired musicians with a new way of producing music but also will provide academic research on material and technologies that can be used for future accessibility tools.

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Pala, Ferhat Kadir y Pınar Mihci Turker. "Developing a haptic glove for basic piano education". World Journal on Educational Technology: Current Issues 11, n.º 1 (6 de febrero de 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.3985.

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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.

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18

Satz, Aura. "Music of Its Own Accord". Leonardo Music Journal 20 (diciembre de 2010): 73–78. http://dx.doi.org/10.1162/lmj_a_00015.

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The disembodied hands of spiritualist sittings touched people and levitated objects but also strummed guitars, rang bells, played closed pianos and accordions in cages. Likewise, the mechanical music machines of the time (orchestrions, pianolas, etc.) seemed animated by invisible fingers. Highlighting the historical and haptic parallels between these manifestations, the author addresses the lack of a visible performing body, which remains implicit through the invisible animating agency. She looks at the moment before music became abstracted into the grooves of the gramophone, when music still looked like instruments, though without the gestural presence of the performer. The article is illustrated with images from the author's project Automamusic.

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19

Schmücker, Vanessa, Rebekka Jakob, Rainer Brück, Tanja Eiler y Florian Grensing. "Extension of an Existing VR Memory Training with Haptic Impressions due to a Haptic Vest". Current Directions in Biomedical Engineering 9, n.º 1 (1 de septiembre de 2023): 186–89. http://dx.doi.org/10.1515/cdbme-2023-1047.

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Abstract Cognitive performance is an important aspect of life. Not only does thinking enable us to act, there is also an interaction between cognitive performance and mental health. It is therefore increasingly important to train and practice one’s cognitive abilities and benefit from brain plasticity. According to Vester’s model of learning types visual, auditiv and haptic impression are imporant for learning. An existing memory training application, which transfers the concept of the game Pairs with personal memories into virtual reality (VR), has now been supplemented with a haptic impression. The original application already establishes the visual and auditory perception channels. With new haptic hardware constantly appearing on the market, the Tactsuit X40 haptic vest from bhaptics has now made it possible to include a third perceptual channel with a wide variation of haptic sensations on various parts of the upper body. Each playing card is associated with an individual image, a piece of music and a vibration pattern. All of which are designed to help the user remember the position of the card. Each of these aspects can be freely enabled and disabled. The result of this work is an application which aims to find if and how strongly haptic impressions influence memory performance. By taking more types of learning into account, we hope to achieve a better memory training. A study has been designed to evaluate the specific aspects of the application and is currently being carried out. In addition to the self-generated haptic patterns, it is also possible to generate haptic impulses based on audio sources. These could possibly provide further support in this application.

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McCormick, John, Mohammed Hossny, Michael Fielding, James Mullins, Jordan Beth Vincent, Mostafa Hossny, Kim Vincs et al. "Feels Like Dancing: Motion Capture-Driven Haptic Interface as an Added Sensory Experience for Dance Viewing". Leonardo 53, n.º 1 (febrero de 2020): 45–49. http://dx.doi.org/10.1162/leon_a_01689.

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This paper describes a system for delivering movement information from a dance performance using a multisensory approach that includes visual, sonic and haptic information. The work builds on previous research into interpreting dance as haptic information for blind, deaf-blind and vision-impaired audience members. This current work is aimed at a general audience, with haptic information being one of a number of sensory experiences of the dance. A prototype haptic device has been developed for use in dance performance research.

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Peters, Deniz. "Haptic Illusions and Imagined Agency: Felt Resistances in Sonic Experience". Contemporary Music Review 32, n.º 2-03 (junio de 2013): 151–64. http://dx.doi.org/10.1080/07494467.2013.775815.

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Hwang, Inwook, Hyeseon Lee y Seungmoon Choi. "Real-Time Dual-Band Haptic Music Player for Mobile Devices". IEEE Transactions on Haptics 6, n.º 3 (julio de 2013): 340–51. http://dx.doi.org/10.1109/toh.2013.7.

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23

Harrison, Jacob, Alex Lucas, James Cunningham, Andrew P. McPherson y Franziska Schroeder. "Exploring the Opportunities of Haptic Technology in the Practice of Visually Impaired and Blind Sound Creatives". Arts 12, n.º 4 (13 de julio de 2023): 154. http://dx.doi.org/10.3390/arts12040154.

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Visually impaired and blind (VIB) people as a community face several access barriers when using technology. For users of specialist technology, such as digital audio workstations (DAWs), these access barriers become increasingly complex—often stemming from a vision-centric approach to user interface design. Haptic technologies may present opportunities to leverage the sense of touch to address these access barriers. In this article, we describe a participant study involving interviews with twenty VIB sound creatives who work with DAWs. Through a combination of semi-structured interviews and a thematic analysis of the interview data, we identify key issues relating to haptic audio and accessibility from the perspective of VIB sound creatives. We introduce the technical and practical barriers that VIB sound creatives encounter, which haptic technology may be capable of addressing. We also discuss the social and cultural aspects contributing to VIB people’s uptake of new technology and access to the music technology industry.

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Imschloss, Monika y Christina Kuehnl. "Feel the Music! Exploring the Cross-modal Correspondence between Music and Haptic Perceptions of Softness". Journal of Retailing 95, n.º 4 (diciembre de 2019): 158–69. http://dx.doi.org/10.1016/j.jretai.2019.10.004.

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Goldray, Martin, Joji Yuasa y Toshi Ichiyanagi. "Cosmos Haptic II-Transfiguration-; For Piano". Notes 47, n.º 1 (septiembre de 1990): 225. http://dx.doi.org/10.2307/940567.

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Turchet, Luca y Mathieu Barthet. "Co-Design of Musical Haptic Wearables for Electronic Music Performer's Communication". IEEE Transactions on Human-Machine Systems 49, n.º 2 (abril de 2019): 183–93. http://dx.doi.org/10.1109/thms.2018.2885408.

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Rochester, Katherine. "Visual Music and Kinetic Ornaments". Feminist Media Histories 7, n.º 1 (1 de enero de 2021): 115–46. http://dx.doi.org/10.1525/fmh.2021.7.1.115.

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This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.

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Berdahl, Edgar y Alexandros Kontogeorgakopoulos. "The FireFader: Simple, Open-Source, and Reconfigurable Haptic Force Feedback for Musicians". Computer Music Journal 37, n.º 1 (marzo de 2013): 23–34. http://dx.doi.org/10.1162/comj_a_00166.

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The FireFader is a simple haptic force-feedback device that is optimized for introducing musicians to haptics. It is based upon a single-degree-of-freedom potentiometer fader coupled to a DC motor, also known as a “motorized fader.” A light is connected in parallel with the motor to help communicate the force's strength visually. The FireFader consists of only open-source hardware and open-source software elements. Consequently, it is relatively easy for users to repurpose it into new projects involving varying kinds and numbers of motors and sensors. An open-source device driver for the FireFader allows it to be linked to a computer via USB so that the computer can perform the feedback control calculations. For example, the computer can simulate the acoustics of a virtual musical instrument to concurrently synthesize sound and calculate the motor force as a function of the fader position. The serial connection over USB increases the latency of the control signal compared to embedded implementations, but the serial connection facilitates easier programming via the computer, and the force feedback can be automatically disabled when the user is not touching the fader. Some new devices derived from the FireFader design are presented.

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Onofrei, Marius George, Federico Fontana y Stefania Serafin. "Perceptual Relevance of Haptic Feedback during Virtual Plucking, Bowing and Rubbing of Physically-Based Musical Resonators". Arts 12, n.º 4 (7 de julio de 2023): 144. http://dx.doi.org/10.3390/arts12040144.

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The physics-based design and realization of a digital musical interface asks for the modeling and implementation of the contact-point interaction with the performer. Musical instruments always include a resonator that converts the input energy into sound, meanwhile feeding part of it back to the performer through the same point. Specifically during plucking or bowing interactions, musicians receive a handful of information from the force feedback and vibrations coming from the contact points. This paper focuses on the design and realization of digital music interfaces realizing two physical interactions along with a musically unconventional one, rubbing, rarely encountered in assimilable forms across the centuries on a few instruments. Therefore, it aims to highlight the significance of haptic rendering in improving quality during a musical experience as opposed to interfaces provided with a passive contact point. Current challenges are posed by the specific requirements of the haptic device, as well as the computational effort needed for realizing such interactions without occurrence during the performance of typical digital artifacts such as latency and model instability. Both are however seemingly transitory due to the constant evolution of computer systems for virtual reality and the progressive popularization of haptic interfaces in the sonic interaction design community. In summary, our results speak in favor of adopting nowadays haptic technologies as an essential component for digital musical interfaces affording point-wise contact interactions in the personal performance space.

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Frid, Emma. "Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice". Multimodal Technologies and Interaction 3, n.º 3 (26 de julio de 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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Hwang, Inwook, Hyeseon Lee y Seungmoon Choi. "Erratum to "Real-time dual-band haptic music player for mobile devices"". IEEE Transactions on Haptics 7, n.º 3 (1 de julio de 2014): 411. http://dx.doi.org/10.1109/toh.2014.2355694.

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He, Yan, George Chernyshov, Jiawen Han, Dingding Zheng, Ragnar Thomsen, Danny Hynds, Muyu Liu et al. "Frisson Waves". Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 6, n.º 3 (6 de septiembre de 2022): 1–23. http://dx.doi.org/10.1145/3550324.

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Frisson is the feeling and experience of physical reactions such as shivers, tingling skin, and goosebumps. Using entrainment through facilitating interpersonal transmissions of embodied sensations, we present "Frisson Waves" with the aim to enhance live music performance experiences. "Frisson Waves" is an exploratory real-time system to detect, trigger and share frisson in a wave-like pattern over audience members during music performances. The system consists of a physiological sensing wristband for detecting frisson and a thermo-haptic neckband for inducing frisson. In a controlled environment, we evaluate detection (n=19) and triggering of frisson (n=15). Based on our findings, we conducted an in-the-wild music concert with 48 audience members using our system to share frisson. This paper summarizes a framework for accessing, triggering and sharing frisson. We report our research insights, lessons learned, and limitations of "Frisson Waves".

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Blewett, Devon John y David Gerhard. "Brass Haptics: Comparing Virtual and Physical Trumpets in Extended Realities". Arts 12, n.º 4 (10 de julio de 2023): 145. http://dx.doi.org/10.3390/arts12040145.

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Despite the benefits of learning an instrument, many students drop out early because it can be frustrating for the student, expensive for the caregiver, and loud for the household. Virtual Reality (VR) and Extended Reality (XR) offer the potential to address these challenges by simulating multiple instruments in an engaging and motivating environment through headphones. To assess the potential for commercial VR to augment musical experiences, we used standard VR implementation processes to design four virtual trumpet interfaces: camera-tracking with tracked register selection (two ways), camera-tracking with voice activation, and a controller plus a force-feedback haptic glove. To evaluate these implementations, we created a virtual music classroom that produces audio, notes, and finger pattern guides loaded from a selected Musical Instrument Digital Interface (MIDI) file. We analytically compared these implementations against physical trumpets (both acoustic and MIDI), considering features of ease of use, familiarity, playability, noise, and versatility. The physical trumpets produced the most reliable and familiar experience, and some XR benefits were considered. The camera-based methods were easy to use but lacked tactile feedback. The haptic glove provided improved tracking accuracy and haptic feedback over camera-based methods. Each method was also considered as a proof-of-concept for other instruments, real or imaginary.

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Aker, Scott C., Hamish Innes-Brown, Kathleen F. Faulkner, Marianna Vatti y Jeremy Marozeau. "Effect of audio-tactile congruence on vibrotactile music enhancement". Journal of the Acoustical Society of America 152, n.º 6 (diciembre de 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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TUNBRIDGE, LAURA. "Scarlett Johansson's Body and the Materialization of Voice". Twentieth-Century Music 13, n.º 1 (marzo de 2016): 139–52. http://dx.doi.org/10.1017/s1478572215000201.

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AbstractThis article considers three science fiction films, released in 2013–14, featuring Scarlett Johansson:Her(dir. Spike Jonze),Lucy(dir. Luc Besson), andUnder the Skin(dir. Jonathan Glazer). It suggests that to engage with the phenomenon of voice in imaginative and productive ways it is necessary to slide over a disciplinary divide and address more explicitly the musicality of speech. In my main example,Her, Johansson provides the voice of an operating system with which the film's protagonist falls in love. Central to their intimate connection is the establishment of what I call the ‘haptic voice’, which conveys a sense of physical proximity. A similar blurring of the boundaries between voice and body occur in the presentation of the alien characters Johansson plays in the other films.

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36

Lim, Taehyeong, Sungwoong Lee y Fengfeng Ke. "Integrating Music into Math in a Virtual Reality Game". International Journal of Game-Based Learning 7, n.º 1 (enero de 2017): 57–73. http://dx.doi.org/10.4018/ijgbl.2017010104.

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The purpose of this study was to investigate future teachers' experiences and perceptions of using a virtual reality game for elementary math education. The virtual reality game was designed and developed to integrate a musical activity (beat-making) into the math learning of fractions. Five math education major students participated in this study. Participants' perceptions, experiences, and interactions regarding the game were examined through observation, screen recording, survey, and interviews. A thematic analysis found three major themes: Transformative presentation of fractions via musical concepts, integration of music into math to enhance learner motivation, and learning-constructive game design features. The findings showed that the concept of fractions is effectively represented via beat-making in the virtual reality game. The study also illustrated that musical term clarification and adaptive, haptic manipulation are salient design features that influence game-based learning.

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Mazzoni, Antonella y Nick Bryan-Kinns. "Mood Glove: A haptic wearable prototype system to enhance mood music in film". Entertainment Computing 17 (noviembre de 2016): 9–17. http://dx.doi.org/10.1016/j.entcom.2016.06.002.

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Aker, Scott C., Kathleen F. Faulkner, Hamish Innes-Brown, Marianna Vatti y Jeremy Marozeau. "Some, but not all, cochlear implant users prefer music stimuli with congruent haptic stimulation". Journal of the Acoustical Society of America 155, n.º 5 (1 de mayo de 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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Wexler, David, Joanne Yip, Ka-Po Lee, Xiaolu Li y Yiu-Hong Wong. "A Touch on Musical Innovation: Exploring Wearables and Their Impact on New Interfaces for Musical Expression". Sensors 24, n.º 1 (31 de diciembre de 2023): 250. http://dx.doi.org/10.3390/s24010250.

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This paper explores the innovative concept of using wearable technologies as a medium for musical expression. Special emphasis is placed on a unique wearable device equipped with motion, touch, and acceleration sensors, which can be used as a wrist strap, hand strap, or surface drum pad. The aim is to create a new musical instrument that simplifies music learning and expression and makes them more intuitive. The wearable device contains 32 individual touch-sensitive pressure sensors, a nine-axis inertial-measurement-unit motion sensor, and various light-emitting diode and vibrational haptic-feedback components. The inclusion of tactile and intuitive features in the wearable device enhances the musical experience of users by enabling engaging interaction. Consequently, it is believed that this groundbreaking technology has significant potential to contribute to the field of music, providing musicians with a versatile and intuitive instrument that facilitates their creative expression.

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40

Mihelj, Matjaž, Domen Novak, Maja Milavec, Jaka Ziherl, Andrej Olenšek y Marko Munih. "Virtual Rehabilitation Environment Using Principles of Intrinsic Motivation and Game Design". Presence: Teleoperators and Virtual Environments 21, n.º 1 (febrero de 2012): 1–15. http://dx.doi.org/10.1162/pres_a_00078.

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This paper presents a novel multimodal virtual rehabilitation environment. Its design and implementation are based on principles related to intrinsic motivation and game design. The system consists of visual, acoustic, and haptic modalities. Elements contributing to intrinsic motivation are carefully joined in the three modalities to increase patients' motivation during the long process of rehabilitation. The message in a bottle (MIB) virtual scenario is designed to allow interplay between motor and cognitive challenges in the exercising patient. The user first needs to perform a motor action to receive a cognitive challenge that is finally solved by a second motor action. Visual feedback provides the most relevant information related to the task. Acoustic feedback consists of environmental sounds, music, and spoken instructions or encouraging statements for the patient. The haptic modality generates tactile information related to the environment and provides various modes of assistance for the patient's arm movements. The MIB scenario was evaluated with 16 stroke patients, who rated it positively using the Intrinsic Motivation Inventory questionnaire. Additionally, the MIB scenario seems to elicit higher motivation than a simpler pick-and-place training task.

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Kawarazaki, Noriyuki, Yuhei Kaneishi, Nobuyuki Saito y Takashi Asakawa. "A Supporting System of Choral Singing for Visually Impaired Persons Using Depth Image Sensor". Journal of Robotics and Mechatronics 26, n.º 6 (20 de diciembre de 2014): 735–42. http://dx.doi.org/10.20965/jrm.2014.p0735.

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<div class=""abs_img""><img src=""[disp_template_path]/JRM/abst-image/00260006/06.jpg"" width=""250"" />Supporting system of choral singing</div> Visually impaired persons may find it difficult to take part in a chorus or other singing group because they cannot see the beat indicated by conductor’s hand movements. This paper provides a chorus support system for visually impaired persons using depth image sensor. This consists of an electric music baton with an acceleration sensor, a radio module, haptic interface devices with vibration motors, a depth image sensor, and a PC. The electric music baton transmits the signal indicating the conductor’s motion to visually impaired players based on sensor acceleration. Since the conductor must give individual instruction to player, we use a depth image sensor to indicate the direction in which the conductor’s baton points. This direction is estimated based on the conductor’s posture. We also attempted to develop a chorus support system without using the electric music baton. The beat is obtained by the maximum velocity position of the conductor’s hand motion using a depth image sensor. The effectiveness of our system is clarified by several experimental results. </span>

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Balandra, Alfonso, Hironori Mitake, Takako Yoshida y Shoichi Hasegawa. "Selective listening attention enhancement, using a simultaneous visual and haptic stimuli". Journal of New Music Research 48, n.º 3 (marzo de 2019): 294–308. http://dx.doi.org/10.1080/09298215.2019.1575424.

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Pasiecznik, Monika. "Nowa Muzyka i przyjemność w serii utworów audiowizualnych ASMR Neo Hülckera". Res Facta Nova. Teksty o muzyce współczesnej, n.º 21 (30) (15 de diciembre de 2020): 69–77. http://dx.doi.org/10.14746/rfn.2020.21.5.

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New Music developed in the twentieth century under the influence of Theodor W. Adorno’s philosophy. Its sense, according to the philosopher, lies in social criticism, which the composer accomplishes through radical artistic innovation, and the distance from the audience’s expectations. The sensual pleasure of sound reception is not included in the concept of New Music, which preferably should not appeal to anybody, as it “took on the shoulders darkness of the world and all its guilt, and sees its only happiness in knowing misery” (Adorno). In the ASMR series, the German composer Neo Hülcker breaks this paradigm of perception and proposes a radically different interpretationof New Music.ASMR, or Autonomous Sensory Meridian Response, is a sensation of pleasant tingle, caused by subtle acoustic-haptic phenomena, such as amplified murmurs, whispers, touching objects and materials. Millions of people around the world are watching ASMR videos on YouTube that let them relax nicely.In such video compositions as ASMR Tutorial: How to Play “Pression” by Helmut Lachenmann, ASMR Tutorial: How to Play Mark Andreor ASMR Unwrapping the Piano & iv 11a, and Peter Ablinger: weiss/ weisslich 3 – [super soft ASMR] Neo Hülcker investigates the similarityof sound material of illustrative pieces of New Music and ASMR, raising the question of whether New Music can make someone feeltingly. Presenting in the context of ASMR works by Helmut Lachenmann, Mark Andre and Peter Ablinger, Hülcker explores the hiddenpotential contained in the most radical aesthetics of New Music, namely the suppressed carnal pleasure. The article is an attempt to show the ways how Neo Hülcker redefines the concept of New Music, entering in it the sensual experience of sound.

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KINOSHITA, Kaoru, Hisashi TASAKA y Takashi ASAKAWA. "Information Presentation Method of 4-Beat using Haptic Stimulation Music Performance Support for Visually Impaired Person". Proceedings of JSME annual Conference on Robotics and Mechatronics (Robomec) 2018 (2018): 1A1—G08. http://dx.doi.org/10.1299/jsmermd.2018.1a1-g08.

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Nichols, Charles. "The vBow: a virtual violin bow controller for mapping gesture to synthesis with haptic feedback". Organised Sound 7, n.º 2 (agosto de 2002): 215–20. http://dx.doi.org/10.1017/s135577180200211x.

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The vBow, a virtual violin bow musical controller, has been designed to provide the computer musician with most of the gestural freedom of a bow on a violin string. Four cable and servomotor systems allow for four degrees of freedom, including the lateral motion of a bow stroke across a string, the rotational motion of a bow crossing strings, the vertical motion of a bow approaching and pushing into a string, and the longitudinal motion of a bow travelling along the length of a string. Encoders, attached to the shaft of the servomotors, sense the gesture of the performer, through the rotation of the servomotor shafts, turned by the motion of the cables. The data from each encoder is mapped to a parameter in synthesis software of a bowed-string physical model. The software also sends control voltages to the servomotors, engaging them and the cables attached to them with a haptic feedback simulation of friction, vibration, detents and elasticity.

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NIEDUZIAK, EDYTA. "Towards a radical life. The social and aesthetic themes in Helen Keller’s activity in defence of humanity". Interdyscyplinarne Konteksty Pedagogiki Specjalnej, n.º 25 (15 de junio de 2019): 229–54. http://dx.doi.org/10.14746/ikps.2019.25.10.

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Edyta Nieduziak, Towards a radical life. The social and aesthetic themes in Helen Keller’s activity in defence of humanity. Interdisciplinary Contexts of Special Pedagogy, no. 25, Poznań 2019. Pp. 229-254. Adam Mickiewicz University Press. ISSN 2300-391X. DOI: https://doi.org/10.14746/ikps.2019.25.10 The article is an attempt to describe three biographical motifs of H. Keller, referring to aesthetic experiences (R. Ingarden) caused by various experiences: tactile in contact with sculpture, haptic in contact with music, and literary. The starting point to consider, however, is the category of humanity in the sense of M.S. Archer. The reflexivity characteristic of humanity, combined with the aesthetic experience, makes the themes describe the non-aesthetic experiences of H. Keller. In the analysis, the author used H. Keller’s correspondence, her works, biographical sources, photographs and video recordings.

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Berdahl, Edgar, Gunter Niemeyer y Julius O. Smith. "Haptic interaction for music with unrestricted freedom of the musician’s motion: Promoting augmented interaction with physical tools." Journal of the Acoustical Society of America 127, n.º 3 (marzo de 2010): 1733. http://dx.doi.org/10.1121/1.3383460.

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Hayes, Lauren y Christos Michalakos. "Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion". Organised Sound 17, n.º 1 (14 de febrero de 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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Casini, Silvia. "Sensing Nanotechnologies through the Arts: Seeing and Making on the Surface of Things". Leonardo 47, n.º 1 (febrero de 2014): 36–42. http://dx.doi.org/10.1162/leon_a_00699.

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The author assesses the role played by the surface in selected nanoscience and nanotechnology (N&N) practices by examining the interaction between surfaces and their viewers. In N&N, issues of scale and perception challenge those involved in science-art projects, forcing them to engage with nano-objects and surfaces by using either highly specialized instruments or metaphors. The most interesting examples of nano-based artworks give the audience the opportunity to interact with N&N through haptic sensing.

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Kaptan Siray, Basak. "Concrete Abstract: Exploring Tactility in Abstract Animations from Early Avant-garde Films to Contemporary Artworks". International Journal of Film and Media Arts 6, n.º 2 (17 de diciembre de 2021): 28–41. http://dx.doi.org/10.24140/ijfma.v6.n2.02.

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After witnessing social chaos and the collapse of values at the beginning of the twentieth century, avant-garde artists insert new thought patterns and progressive aesthetic into the traditional perception of art. Being enthralled by the new film medium, former painters like Viking Eggeling, Walther Ruttman and Hans Richter start to experiment with light in two-dimensional film formats, they animate lines, stripes, basic shapes, play with the foreground and the background, and, most important of all, they construct a temporality within the visual order of the screen. Viking Eggeling’s Symphonie Diagonale (1921-24), Walther Ruttman’s Opus I (1921) and Hans Richter’s Rhythmus 21 (1921) show such temporality built in, which is caught by the idea of music as their titles suggest. These short abstract animation films attempt to discover the artistic possibilities of the new developing medium, film. Like the pioneer avant-garde abstract filmmakers, today’s artists still seek to stimulate a new perception for a possible embodiment that will activate the sense of touch in the audience. Tactility, enhanced by the material, opens up a new network of spatio-temporal relationships in the viewer's consciousness and subjecthood. This essay aims to bring a historical perspective to the abstract moving images of which the tactile or haptic experience is a defining characteristic. Through a selection of abstract animations, the materiality of the film image and the screening site will be elaborated upon according to the haptic features that are corporally embodied by the viewers. In the light of historical abstract animation, the aim is to dwell upon the dynamics of a continuous tendency to capture tactile instances to help bring forth the spatial resonances as well as visualize and reedify the rhythmic passing of time.

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