Musical Instruments for Novices: Comparing NIME, HCI and Crowdfunding Approaches

McPherson, Andrew; Morreale, Fabio; Harrison, Jacob

doi:10.1007/978-3-319-92069-6_12

Cited by 20 publications

(15 citation statements)

References 38 publications

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“…The authors debate how specific features of DMIs could benefit music therapy sessions and propose future lines of research concerned with designing multimodal and empowerment-based technologies. Finally, work presented in [55] focused on accessible instruments for disability, considering both commercial products and instruments presented at NIME (International Conference on New Interfaces for Musical Expression) and related research. Results suggested that the commercial instruments mainly were MIDI controllers that, whatever their physical configuration, managed musical events on a note-by-note or sequence-level basis.…”

Section: Related Workmentioning

confidence: 99%

Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice

Frid

2019

MTI

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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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Section: Related Workmentioning

confidence: 99%

Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice

Frid

2019

MTI

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“…Furthermore, the possibility of a high level of personalization led to more positive evaluation, in terms of usability and completely new interaction experience with musical devices, compared to a situation in which the multi-effect devices cannot be customized (i.e., traditional pedalboard with fixed-pedals). In general, making devices more usable for novices is crucial to reduce the traditional barriers that may hamper the initial phases of learning how to play a musical instrument (McPherson, Morreale, and Harrison, 2019). However, some limitations of the study have to be pointed out.…”

Section: Discussionmentioning

confidence: 98%

Place the Controllers Wherever You Want: Usability and User Experience of Customisable Musical Devices

2020

Proceedings of the 14 Th International Conference on Interfaces and Human Computer Interaction 2020 and 13 Th International Con

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The current study investigates how different types of multi-effects guitar devices can affect users' evaluations of usability and user experience. Participants were asked to interact with three different multi-effects devices while playing an electric guitar. Typically multi-effect pedalboards are used by musicians to modify an instrument sound. These tools allow us to distort notes or to change the duration of the produced sounds. The main difference between the three devices pertains to the placement of their controllers: fixed-pedals on the ground; movable-pedals on the ground; movable and wireless pedals that can be freely placed, at the discretion of the user (e.g., on the guitar, the user's body). The second and third devices were both prototypes designed and developed by the first author. Several usability dimensions (e.g., ease of use, enjoyment, etc.) were evaluated (i.e., ad hoc questionnaire). Besides the musical experience also the attitude towards novel technologies (i.e., personal innovativeness) was collected. Overall, the two prototypes appeared as easier to use and enjoyable compared to the fixed-pedals device. Furthermore, participants with high levels of personal innovativeness perceived the devices as more controllable. The opportunity of customizing the placement of the pedals positively affected the evaluations. The study outcomes lay the foundations for the implementation of new prototypes that could be tailored based on musicians' needs. The result will be an increment in usability and a more positive user experience.

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“…The term "accessible DMIs" (ADMIs) refers to instruments designed for persons with disabilities. A distinction can be drawn between "performance-focused" and "therapeutic" instruments [7], where the former include ADMIs designed to enable masterful performances by musicians with disabilities, while the latter include instruments designed to elicit therapeutic or wellbeing aspects of music making, even for non-musicians.…”

Section: Introductionmentioning

confidence: 99%

Hands-Free Accessible Digital Musical Instruments: Conceptual Framework, Challenges, and Perspectives

Davanzo

Avanzini

2020

IEEE Access

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Exponential increases of available computational resources, miniaturization, and sensors, are enabling the development of digital musical instruments that use non-conventional interaction paradigms and interfaces. This scenario opens up new opportunities and challenges in the creation of accessible instruments to include persons with disabilities into music practice. This work focuses in particular on instruments dedicated to people who can not use limbs, for whom the only means for musical expression are the voice and a small number of traditional instruments. First, a modular and adaptable conceptual framework is discussed for the design of accessible digital musical instruments targeted at performers with motor impairments. Physical interaction channels available from the neck upwards (head, mouth, eyes, brain) are analyzed in terms of potential and limitations for musical interaction. Second, a systematic survey of previously developed instruments is presented: each is analyzed in terms of design choices, physical interaction channels and related sensors, mapping strategies, performer interface and feedback. As a result of this survey, several open research directions are discussed, including the use of unconventional interaction channels, musical control mappings, multisensory feedback, design, evaluation, and adaptation. INDEX TERMS Accessibile interfaces, Music technology, Digital musical instruments, Inclusive music practice VOLUME ...

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Musical Instruments for Novices: Comparing NIME, HCI and Crowdfunding Approaches

Cited by 20 publications

References 38 publications

Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice

Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice

Place the Controllers Wherever You Want: Usability and User Experience of Customisable Musical Devices

Hands-Free Accessible Digital Musical Instruments: Conceptual Framework, Challenges, and Perspectives

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