2003: Contexts of Collaborative Musical Experiences

Blaine, Tina; Fels, Sidney

doi:10.1007/978-3-319-47214-0_6

Cited by 34 publications

(30 citation statements)

References 18 publications

(23 reference statements)

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“…The last direction for adapting 3D interaction techniques to Although collaborators have soon been taken into account in the context of Collaborative Virtual Environments for example in Benford, Bowers, Fahlén, and Greenhalgh (1994), the information required for musical interaction differs from other domains. In particular, as pointed out by Blaine and Fels (2003) it is essential that musicians are aware of the contribution of each other to the overall produced music. They should also be able to give each other indications relative to upcoming musical events or actions, e.g.…”

Section: Visual Feedback For the Audience And Orchestramentioning

confidence: 99%

3D interaction techniques for musical expression

Berthaut

2020

Journal of New Music Research

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As Virtual Reality headsets become accessible, more and more artistic applications are developed, including immersive musical instruments. 3D interaction techniques designed in the 3D User Interfaces research community, such as navigation, selection and manipulation techniques, open numerous opportunities for musical control. For example, navigation techniques such as teleportation, free walking/flying and path-planning enable different ways of accessing musical scores, scenes of spatialized sounds sources or even parameter spaces. Manipulation techniques provide novel gestures and metaphors, e.g. for drawing or sculpting sound entities. Finally, 3D selection techniques facilitate the interaction with complex visual structures which can represent hierarchical temporal structures, audio graphs, scores or parameter spaces. However, existing devices and techniques were developed mainly with a focus on efficiency, i.e. minimising error rate and task completion times. They were therefore not designed with the specifics of musical interaction in mind. In this paper, we review existing 3D interaction techniques and examine how they can be used for musical control, including the possibilities they open for instrument designers. We then propose a number of research directions to adapt and extend 3DUIs for musical expression KEYWORDS 3D user interfaces, Immersive virtual musical instruments, Virtual Reality, New interface for musical expression

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Section: Visual Feedback For the Audience And Orchestramentioning

confidence: 99%

3D interaction techniques for musical expression

Berthaut

2020

Journal of New Music Research

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“…Focusing on interactive installations, Winkler [25] discussed digital, physical, social, and personal factors that should be considered in their design. In a similar way, Blaine and Fels [1] studied design features of collaborative musical systems, with the particular goal of elucidating design issues endemic to systems for novice players.…”

Section: Examining Musical Devicesmentioning

confidence: 99%

“…Typically interactions with traditional musical instruments feature only one inter-actor, but some digital musical instruments and installations are designed as collaborative interfaces (see [5], [1]), and a large installation may involve hundreds of people interacting with the system at once [21].…”

Section: An Example Dimension Spacementioning

confidence: 99%

2005: Towards a Dimension Space for Musical Devices

et al. 2017

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While several researchers have grappled with the problem of comparing musical devices across performance, installation, and related contexts, no methodology yet exists for producing holistic, informative visualizations for these devices. Drawing on existing research in performance interaction, human-computer interaction, and design space analysis, the authors propose a dimension space representation that can be adapted for visually displaying musical devices. This paper illustrates one possible application of the dimension space to existing performance and interaction systems, revealing its usefulness both in exposing patterns across existing musical devices and aiding in the design of new ones. KeywordsHuman-Computer Interaction, Design Space Analysis, New Interfaces for Musical Expression EXAMINING MUSICAL DEVICESMusical devices can take varied forms, including interactive installations, digital musical instruments, and augmented instruments. Trying to make sense of this wide variability, several researchers have proposed frameworks for classifying the various systems.As early as 1985, Pennycook [15] offered a discussion of interface concepts and design issues. Pressing [18] proposed a set of fundamental design principles for computer-music interfaces. His exhaustive treatment of the topic laid the groundwork for further research on device characterization.Bongers [3] characterized musical interactions as belonging to one of three modes: Performer-System interaction, such as a performer playing an instrument, System-Audience interaction, such as those commonly found at interactive sound installations, and Performer-System-Audience interaction, which describes interactive systems in which both artist and audience interact in real time.Wanderley et al.[24] discussed two approaches to classification of musical devices, including instruments and inPermission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. To copy otherwise, to republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. stallations: the technological perspective and the semantical perspective. Jordà [7] characterizes instruments in terms of music output complexity, control input complexity and performer freedom. Focusing on interactive installations, Winkler [25] discussed digital, physical, social, and personal factors that should be considered in their design. In a similar way, Blaine and Fels [1] studied design features of collaborative musical systems, with the particular goal of elucidating design issues endemic to systems for novice players.While these various approaches contribute insight to the problem of musical device classification, most did not provide a visual representation, which could facilitate device comparison and design. One exception is [24], who proposed...

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“…DMI design for non-specialist users is a significant research area, especially in collaborative or public settings, e.g. [5,55,4].…”

Section: Background Work and Play In Musical Instrument Usementioning

confidence: 99%

Designing for Exploratory Play with a Hackable Digital Musical Instrument

McPherson

Chamberlain

Hazzard

et al. 2016

Proceedings of the 2016 ACM Conference on Designing Interactive Systems

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This paper explores the design of digital musical instruments (DMIs) for exploratory play. Based on Gaver's principles of ludic design, we examine the ways in which people come to terms with an unfamiliar musical interface. We describe two workshops with the D-Box, a DMI designed to be modified and hacked by the user. The operation of the D-Box is deliberately left ambiguous to encourage users to develop their own meanings and interaction techniques. During the workshops we observed emergent patterns of exploration which revealed a rich process of exploratory play. We discuss our observations in relation to previous literature on appropriation, ambiguity and ludic engagement, and we provide recommendations for the design of playful and exploratory interfaces.

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2003: Contexts of Collaborative Musical Experiences

Cited by 34 publications

References 18 publications

3D interaction techniques for musical expression

3D interaction techniques for musical expression

2005: Towards a Dimension Space for Musical Devices

Designing for Exploratory Play with a Hackable Digital Musical Instrument

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