Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI

Wanderley, Marcelo M.; Orio, Nicola

doi:10.1162/014892602320582981

Cited by 122 publications

(68 citation statements)

References 16 publications

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“…In this, our work also relates to a larger context of research regarding the design of appropriate physical and virtual interfaces for musical performance and audio control (e.g., [12,30]). …”

Section: Background: Collaborative Audio Editingmentioning

confidence: 99%

Dynamic mapping of physical controls for tabletop groupware

Fiebrink

Morris

2009

Proceedings of the SIGCHI Conference on Human Factors in Computing Systems

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Multi-touch interactions are a promising means of control for interactive tabletops. However, a lack of precision and tactile feedback makes multi-touch controls a poor fit for tasks where precision and feedback are crucial. We present an approach that offers precise control and tactile feedback for tabletop systems through the integration of dynamically re-mappable physical controllers with the multi-touch environment, and we demonstrate this approach in our collaborative tabletop audio editing environment. An observational user study demonstrates that our approach can provide needed precision and feedback, while preserving the collaborative benefits of a shared directmanipulation surface. Our observations also suggest that direct touch and physical controllers can offer complementary benefits, and that providing both allows users to adjust their control strategy based on considerations including precision, convenience, visibility, and user role.

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Section: Background: Collaborative Audio Editingmentioning

confidence: 99%

Dynamic mapping of physical controls for tabletop groupware

Fiebrink

Morris

2009

Proceedings of the SIGCHI Conference on Human Factors in Computing Systems

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“…Our primary purpose is not to specify how a DMI should be initially designed or evaluated, a topic covered in many excellent articles (Wanderley and Orio 2002;Jordà 2004;Cook 2009;Paine 2009;Gurevich and Fyans 2011;O'Modhrain 2011). Rather, we examine the process of bringing an instrument to a larger community of musicians, sometimes changing its design in the process.…”

mentioning

confidence: 99%

The Problem of the Second Performer: Building a Community Around an Augmented Piano

McPherson

Kim

2012

Computer Music Journal

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Abstract:The design of a digital musical instrument is often informed by the needs of the first performance or composition. Following the initial performances, the designer frequently confronts the question of how to build a larger community of performers and composers around the instrument. Later musicians are likely to approach the instrument on different terms than those involved in the design process, so design decisions that promote a successful first performance will not necessarily translate to broader uptake. This article addresses the process of bringing an existing instrument to a wider musical community, including how musician feedback can be used to refine the instrument's design without compromising its identity. As a case study, the article presents the magnetic resonator piano, an electronically augmented acoustic grand piano that uses electromagnets to induce vibrations in the strings. After initial compositions and performances using the instrument, feedback from composers and performers guided refinements to the design, laying the groundwork for a collaborative project in which six composers wrote pieces for the instrument. The pieces exhibited a striking diversity of style and technique, including instrumental techniques never considered by the designer. The project, which culminated in two concert performances, demonstrates how a new instrument can acquire a community of musicians beyond those initially involved.Composers often speak of the problem of the second performance: Many ensembles commission and perform new works, but fewer offer chances for pieces premiered elsewhere to be heard a second time. In the field of digital musical instrument (DMI) design, we instead encounter the problem of the second performer: Once a new instrument has been built and the first performances have been given, how can the designer establish a continuing role for the instrument in the broader musical community? Very few new instruments have attracted a significant following, with the result that an instrument's designer is often its only performer and composer. Because designing an instrument is time-consuming, and many designers are constantly creating new instruments, even the most dedicated of designers will struggle to establish a musical presence for his or her creations. Sergi Jordà summarizes: "Many new

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“…Nonetheless, perhaps surprisingly, the exchange of ideas between DMI design and HCI has more often followed a different path, applying task-based HCI metrics to DMI evaluation [59,33] or evaluating aspects of control and learning curve [31]. It is widely accepted that control accuracy alone is not a sufficient metric, leading to investigations of DMI "expressiveness" [49,14,32].…”

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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Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI

Cited by 122 publications

References 16 publications

Dynamic mapping of physical controls for tabletop groupware

Dynamic mapping of physical controls for tabletop groupware

The Problem of the Second Performer: Building a Community Around an Augmented Piano

Designing for Exploratory Play with a Hackable Digital Musical Instrument

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