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The rapid development and availability of low-cost technologies have created a wide interest in virtual reality. In the field of computer music, the term “virtual musical instruments” has been used for a long time to describe software simulations, extensions of existing musical instruments, and ways to control them with new interfaces for musical expression. Virtual reality musical instruments (VRMIs) that include a simulated visual component delivered via a head-mounted display or other forms of immersive visualization have not yet received much attention. In this article, we present a field overview of VRMIs from the viewpoint of the performer. We propose nine design guidelines, describe evaluation methods, analyze case studies, and consider future challenges.

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Recent technological developments have finally brought virtual reality (VR) out of the laboratory and into the hands of developers and consumers. However, a number of challenges remain. Virtual travel is one of the most common and universal tasks performed inside virtual environments, yet enabling users to navigate virtual environments is not a trivial challenge—especially if the user is walking. In this article, we initially provide an overview of the numerous virtual travel techniques that have been proposed prior to the commercialization of VR. Then we turn to the mode of travel that is the most difficult to facilitate, that is, walking. The challenge of providing users with natural walking experiences in VR can be divided into two separate, albeit related, challenges: (1) enabling unconstrained walking in virtual worlds that are larger than the tracked physical space and (2) providing users with appropriate multisensory stimuli in response to their interaction with the virtual environment. In regard to the first challenge, we present walking techniques falling into three general categories: repositioning systems, locomotion based on proxy gestures, and redirected walking. With respect to multimodal stimuli, we focus on how to provide three types of information: external sensory information (visual, auditory, and cutaneous), internal sensory information (vestibular and kinesthetic/proprioceptive), and efferent information. Finally, we discuss how the different categories of walking techniques compare and discuss the challenges still facing the research community.

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