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This chapter considers the use of haptics for learning fundamental rhythm skills, including skills that depend on multi-limb coordination. Different sensory modalities have different strengths and weaknesses for the development of skills related to rhythm. For example, vision has low temporal resolution and performs poorly for tracking rhythms in real time, whereas hearing is highly accurate. However, in the case of multi-limbed rhythms, neither hearing nor sight is particularly well suited to communicating exactly which limb does what and when, or how the limbs coordinate. By contrast, haptics can work especially well in this area, by applying haptic signals independently to each limb. We review relevant theories, including embodied interaction and biological entrainment. We present a range of applications of the Haptic Bracelets, which are computer-controlled wireless vibrotactile devices, one attached to each wrist and ankle. Haptic pulses are used to guide users in playing rhythmic patterns that require multi-limb coordination. One immediate aim of the system is to support the development of practical rhythm skills and multilimb coordination. A longer-term goal is to aid the development of a wider range of fundamental rhythm skills including recognising, identifying, memorising, retaining, analysing, reproducing, coordinating, modifying and creating rhythms-particularly multi-stream (i.e. polyphonic) rhythmic sequences. Empirical results are presented.

Historically, audiences have had various ways to participate in live music performances, including clapping, dancing, swaying, whistling, and singing. More recently, mobile and wireless devices, such as smartphones have opened up powerful new opportunities for audience participation. However, design for technology-mediated audience participation (TMAP) can be challenging: musicians and audiences have different demands, as does the coherence of the music, and group needs can vary widely. Thus, effective TMAP design requires the balancing of knowledge from diverse perspectives and must take into account the needs of diverse roles in creating and supporting performances. This chapter focuses on the process of creating and evaluating a set of design cards to support the interaction design and evaluation of TMAP systems. The cards are based on a previously created descriptive framework for supporting interaction design and evaluation in this challenging area. We discuss the conception and development of the TMAP design cards in some detail, and present an empirical study to evaluate their practical usefulness. Particular attention is paid to the ability of the cards to support finding ideas, changing ideas, and examining ideas from different perspectives.