Adapting the Bass Guitar for One-Handed Playing

Harrison, Jacob; McPherson, Andrew

doi:10.1080/09298215.2017.1340485

Cited by 14 publications

(19 citation statements)

References 19 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…However, as stated in a previous study [30], the word "assistance" implies an external source that provides aid to a person in need, whereas "adaptive" implies a constant state of refinement and adjustment to the musician. Finally, in recent work [47], Harrison and McPherson use the term "accessible instruments", making a distinction between two categories of instruments designed for people with disabilities: "therapeutic devices" and "performance-focused instruments". The term "accessible DMI" was also used in [7], among other terms.…”

Section: Inclusive Music Practicementioning

confidence: 99%

See 1 more Smart Citation

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

Frid

2019

MTI

View full text Add to dashboard Cite

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.

show abstract

Section: Inclusive Music Practicementioning

confidence: 99%

“…Adapted Instruments 8 A modification of the electric bass guitar, designed for users with upper-limb disabilities. Enables MIDI-controlled actuated fretting via a foot pedal control [68].…”

Section: Bcmismentioning

confidence: 99%

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

Frid

2019

MTI

View full text Add to dashboard Cite

show abstract

“…Similarly, Harrison and McPherson adapted a bass guitar for one-handed playing [9] by designing an attachable foot-operated electro-mechanical fretting mechanism that interfaces with a MIDI device. In both cases, body gestures not normally used in playing are mapped to actuators that support expressive performance by people with physical disabilities.…”

Section: Performance Accessibility the Main Objective With Thesementioning

confidence: 99%

Augmenting Guitars for Performance Preparation

Avila

Hazzard

Greenhalgh

et al. 2019

Proceedings of the 14th International Audio Mostly Conference: A Journey in Sound

View full text Add to dashboard Cite

A substantial number of Digital Musical Instruments (DMIs) are built upon existing musical instruments by digitally and physically intervening in their design and functionality to augment their sonic and expressive capabilities. These are commonly known as Augmented Musical Instruments (AMIs). In this paper we survey different degress of invasiveness and transformation within augmentations made to musical instruments across research and commercial settings. We also observe a common design rationale among various AMI projects, where augmentations are intended to support the performer's interaction and expression with the instrument. Consequently, we put forward a series of minimally-invasive supportive Guitar-based AMI designs that emerge from observational studies with a community of practicing musicians preparing to perform which reveal different types of physical encumbrances that arise from the introduction of additional resources beyond their instrument. We then reflect on such designs and discuss how both academic and commercially-developed DMI technologies may be employed to facilitate the design of supportive AMIs. CCS CONCEPTS• Human-centered computing → User studies; • Applied computing → Sound and music computing.

show abstract

“…Among them, a significant portion (both in literature and market) is dedicated to various types of physical impairments and related applications. Available interfaces targets space from rehabilitation purposes (Correa et al, 2009), to hemiplegic paralysis (Harrison and McPherson, 2017), quadriplegia (Jamboxx, nd), and extreme conditions such as lock-in syndrome (Vamvakousis andRamirez, 2014, 2016), where the user is unable to control any muscle other than those that move the eyes. The recent work by Frid (Frid, 2019) reports and categorizes a total of 83 musical interfaces, showing that 39.8% of them are dedicated to people with physical impairments.…”

Section: Introductionmentioning

confidence: 99%

A Method for Learning Netytar: An Accessible Digital Musical Instrument

Davanzo

Avanzini

2020

Proceedings of the 12th International Conference on Computer Supported Education

View full text Add to dashboard Cite

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.

show abstract

Adapting the Bass Guitar for One-Handed Playing

Cited by 14 publications

References 19 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

Augmenting Guitars for Performance Preparation

A Method for Learning Netytar: An Accessible Digital Musical Instrument

Contact Info

Product

Resources

About