Musical Haptics.

• Superior document: Springer Series on Touch and Haptic Systems Series
• Author: Papetti, Stefano.
• TeilnehmendeR: Saitis, Charalampos.
• Place / Publishing House: Cham : : Springer International Publishing AG,, 2018.; ©2018.
• Year of Publication: 2018
• Edition: 1st ed.
• Language: English
• Series: Springer Series on Touch and Haptic Systems Series
• Physical Description: 1 online resource (290 pages)

Table of Contents

Intro -- Series Editors' Foreword -- Preface -- Contents -- Contributors -- 1 Musical Haptics: Introduction -- 1.1 Scope and Goals -- 1.2 Haptic Cues in Music Practice and Fruition -- 1.3 Musical Devices and Haptic Feedback -- 1.4 Challenges -- 1.5 Outline -- References -- Musical Haptics: Interaction and Perception -- 2 Once More, with Feeling: Revisiting the Role of Touch in Performer-Instrument Interaction -- 2.1 Introduction -- 2.2 A Musician Both Drives and Is Driven by Their Instrument -- 2.3 The Coupled Dynamics: A New Perspective on Control -- 2.4 Inner and Outer Loops in the Interaction Between Player and Instrument -- 2.5 Implications of a Coupled Dynamics Perspective on Learning to Play an Instrument -- 2.6 Conclusions -- References -- 3 A Brief Overview of the Human Somatosensory System -- 3.1 Introduction -- 3.2 Biomechanics of the Hand -- 3.2.1 Hand Structural Organisation -- 3.2.2 Hand Mobility -- 3.2.3 The Volar Hand -- 3.2.4 Bulk Mechanics of the Fingertip and the Skin -- 3.3 Sensory Organs -- 3.3.1 Muscles, Tendons and Joints -- 3.3.2 Glabrous, Hairy and Mucosal Skin -- 3.3.3 Electrophysiological Response -- 3.4 Central Organs -- 3.5 Conclusions -- References -- 4 Perception of Vibrotactile Cues in Musical Performance -- 4.1 Introduction -- 4.1.1 Open-Loop Experimentation -- 4.1.2 Experiments with Musicians -- 4.1.3 Premises to the Present Experiments -- 4.2 Experiment 1: Vibrotactile Sensitivity Thresholds Under Active Touch Conditions -- 4.2.1 Setup -- 4.2.2 Procedure -- 4.2.3 Results -- 4.2.4 Discussion -- 4.3 Experiment 2: Vibration Detection at the Piano Keyboard During Performance -- 4.3.1 Setup -- 4.3.2 Procedure -- 4.3.3 Results -- 4.3.4 Vibration Characterization -- 4.3.5 Discussion -- 4.4 Conclusions -- References -- 5 The Role of Haptic Cues in Musical Instrument Quality Perception -- 5.1 Introduction -- 5.2 Violin.

5.2.1 Touch and the Conceptualization of Violin Quality by Musicians -- 5.2.2 Vibrotactile Feedback at the Left Hand -- 5.3 Piano -- 5.3.1 Piano Touch and Tone Quality -- 5.3.2 Haptic Cues and Instrument Quality -- 5.4 Conclusions -- References -- 6 A Functional Analysis of Haptic Feedback in Digital Musical Instrument Interactions -- 6.1 Introduction -- 6.2 Experiment Design -- 6.2.1 Functionality Testing -- 6.2.2 Adapting Fitts' Law -- 6.2.3 Context of Evaluation -- 6.2.4 Device Description: The Bowls -- 6.2.5 Device Feedback Implementation -- 6.2.6 Participants -- 6.2.7 Procedure -- 6.3 Results -- 6.3.1 Functionality Results -- 6.3.2 Usability Results -- 6.3.3 User Experience Results -- 6.3.4 Interview Data -- 6.3.5 Empathy Mapping -- 6.4 Discussion -- 6.5 Conclusions -- References -- 7 Auditory-Tactile Experience of Music -- 7.1 Introduction -- 7.2 Experimental Design -- 7.2.1 Stimuli -- 7.2.2 Synchronization -- 7.2.3 Setup -- 7.2.4 Participants -- 7.2.5 Procedure -- 7.3 Vibration Generation: Approaches and Results -- 7.3.1 Low-Pass Filtering -- 7.3.2 Reduction to Fundamental Frequency -- 7.3.3 Octave Shift -- 7.3.4 Substitute Signals -- 7.3.5 Compression of Dynamic Range -- 7.3.6 Summary -- 7.4 Conclusions -- References -- Haptic Musical Interfaces: Design and Applications -- 8 The MSCI Platform: A Framework for the Design and Simulation of Multisensory Virtual Musical Instruments -- 8.1 Introduction -- 8.2 A Physical Approach to Digital Musical Instruments -- 8.2.1 Distributed Approach to Haptic Digital Musical Instruments -- 8.2.2 Unitary Approach to Virtual Musical Instruments -- 8.3 Hardware and Software Solutions for the MSCI Platform -- 8.3.1 The TGR Haptic System -- 8.3.2 The CORDIS-ANIMA Formalism -- 8.3.3 The GENESIS Software Environment -- 8.3.4 Synchronous Real-Time Computing Architecture.

8.4 Multi-rate Decomposition of the Instrumental Chain -- 8.4.1 Gesture-Sound Dynamics -- 8.4.2 Multi-rate CORDIS-ANIMA Simulations -- 8.5 Virtual Instruments Created with MSCI -- 8.5.1 Workflow and Design Process -- 8.5.2 Specificities of MSCI Haptic Virtual Instruments -- 8.5.3 Real-Time Performance in Hélios -- 8.6 Conclusions -- References -- 9 Force-Feedback Instruments for the Laptop Orchestra of Louisiana -- 9.1 Introduction -- 9.1.1 Multisensory Feedback for Musical Instruments -- 9.1.2 Additional Force-Feedback Device Designs from the Haptics Community -- 9.1.3 Open-Source Technology for the Design of Haptic Musical Instruments -- 9.1.4 Laptop Orchestra of Louisiana -- 9.2 Enabling Precise and Physically Intuitive Control of Sound (``Quartet for Strings'') -- 9.2.1 Instrument Design -- 9.2.2 Performance Techniques -- 9.2.3 Compositional Structure -- 9.3 Traditional Controls Can Be Used Alongside Force-Feedback Controls (``Of Grating Impermanence'') -- 9.3.1 Instrument Design -- 9.3.2 Performance Techniques -- 9.3.3 Compositional Structure -- 9.4 Finding Timbres that Sound Uncannily Familiar but Are Nonetheless Novel (``Guest Dimensions'') -- 9.4.1 Instrument Design -- 9.4.2 Performance Techniques -- 9.4.3 Compositional Structure -- 9.5 Conclusions -- References -- 10 Design of Vibrotactile Feedback and Stimulation for Music Performance -- 10.1 Introduction -- 10.2 Haptic Feedback in Music Technology -- 10.2.1 Models of Haptic-Enabled Interfaces -- 10.2.2 Haptic-Enabled Interfaces -- 10.3 Development and Evaluation of Tactile Icons for Music Performance -- 10.3.1 Hardware and Software -- 10.3.2 Symbolic and Musical Tactons: Design and Evaluation -- 10.3.3 Implementation into Live Performance -- 10.4 Conclusions -- References -- 11 Haptics for the Development of Fundamental Rhythm Skills, Including Multi-limb Coordination.

11.1 Introduction -- 11.2 Motivation and Theoretical Background -- 11.2.1 Dalcroze Eurhythmics -- 11.2.2 Metrical Hierarchies and Polyrhythms -- 11.2.3 Cognitive Science: Entrainment and Neural Resonance -- 11.3 Applications of the Haptic Bracelets -- 11.3.1 The "Haptic IPod" -- 11.3.2 Drum Teaching with Haptic Bracelets -- 11.3.3 Musician Coordination and Synchronisation -- 11.3.4 Teaching Multi-limb Drum Patterns by Multi-limbed Haptic Cueing -- 11.4 Experimental Results -- 11.4.1 Supporting Learning of Rhythm Skills with the Haptic Drum Kit -- 11.4.2 Learning Multi-limb Rhythms with Improved Haptic Drum Kit -- 11.4.3 Passive Learning of Multi-limb Rhythm Skills -- 11.5 Related Work -- 11.6 Conclusions -- References -- 12 Touchscreens and Musical Interaction -- 12.1 Introduction -- 12.2 Perceptual Aspects of Auditory and Haptic Modalities for Musical Touchscreen Applications -- 12.2.1 Intensity -- 12.2.2 Frequency -- 12.2.3 Temporal Acuity and Rhythm Perception -- 12.2.4 Synchrony -- 12.3 Experiment 1: Identification of Audio-Driven Tactile Feedback on a Touchscreen -- 12.3.1 Stimuli -- 12.3.2 Set-up -- 12.3.3 Subjects -- 12.3.4 Results and Discussion -- 12.3.5 Usability and Attractiveness -- 12.4 Experiment 2: Effect of Loudness on Perceived Tactile Intensity of Virtual Buttons -- 12.4.1 Stimuli -- 12.4.2 Set-up -- 12.4.3 Subjects -- 12.4.4 Procedure -- 12.4.5 Results and Discussion -- 12.5 Conclusions -- References -- 13 Implementation and Characterization of Vibrotactile Interfaces -- 13.1 Introduction -- 13.2 Vibrotactile Actuators' Technology -- 13.3 Interface Examples -- 13.3.1 The Touch-Box -- 13.3.2 The VibroPiano -- 13.3.3 The HSoundplane -- 13.4 Conclusions -- References -- Appendix Glossary and Abbreviations.