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Accessible Digital Musical Instruments (ADMI) are increasingly raising interest within the scientific community, especially in the contexts of Sound and Music Computing and Human-Computer Interaction. In the past, Netytar has been proposed among these. Netytar is a software ADMI operated through the eyes using an eye tracker and an additional switch or sensor (e.g., a breath sensor). The instrument is dedicated to quadriplegic users: it belongs to the niche of gaze operated musical instruments, and has been proven effective and functional through testing. Although there are several other gaze operated ADMIs available in market and literature, a formal method for studying music with them has not yet been proposed. The present work introduces a simple study method based on a set of exercises. This can be useful for approaching musical performance with Netytar, but it's also potentially generalizable for learning other similar instruments. The exercises are illustrated, discussed and explained in view of an improvement. A simple musical notation is introduced. At the end of a learning cycle, a user is expected to be able to perform simple melodies, and have a basis with which to learn other new ones. In the future, the method will be tested with the target users.

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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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