Proceedings of the Fourth International Conference on Tangible, Embedded, and Embodied Interaction 2010
DOI: 10.1145/1709886.1709892
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Feeling the beat where it counts

Abstract: This paper introduces a tool known as the Haptic Drum Kit, which employs four computer-controlled vibrotactile devices, one attached to each wrist and ankle. In the applications discussed here, haptic pulses are used to guide the playing, on a drum kit, of rhythmic patterns that require multi-limb coordination. The immediate aim is to foster rhythm skills and multi-limb coordination. A broader aim is to systematically develop skills in recognizing, identifying, memorizing, retaining, analyzing, reproducing, an… Show more

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Cited by 49 publications
(3 citation statements)
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References 14 publications
(15 reference statements)
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“…Over the last decade, several haptic feedback-based devices for instrumental music training have been developed. Most of them are based on vibrotactile stimulators that provide real-time feedback whenever the player deviates from a target movement trajectory (van der Linden et al, 2011), has incorrect body posture (Dalgleish and Spencer, 2014), deviates from the target pitch (Yoo and Choi, 2017), or provide guidelines to accurately execute rhythmic patterns that require multi-limb coordination (Holland et al, 2010) (see Figure 1 for the conceptual representation of these devices). Nevertheless, validation studies of these devices show that the efficiency of vibrotactile feedback is dependent on the player's attentional needs, with some individuals experiencing difficulties concentrating on playing due to frequent and/or unclear vibrotactile input (van der Linden et al, 2011;Yoo and Choi, 2017).…”
Section: Haptic Feedbackmentioning
confidence: 99%
“…Over the last decade, several haptic feedback-based devices for instrumental music training have been developed. Most of them are based on vibrotactile stimulators that provide real-time feedback whenever the player deviates from a target movement trajectory (van der Linden et al, 2011), has incorrect body posture (Dalgleish and Spencer, 2014), deviates from the target pitch (Yoo and Choi, 2017), or provide guidelines to accurately execute rhythmic patterns that require multi-limb coordination (Holland et al, 2010) (see Figure 1 for the conceptual representation of these devices). Nevertheless, validation studies of these devices show that the efficiency of vibrotactile feedback is dependent on the player's attentional needs, with some individuals experiencing difficulties concentrating on playing due to frequent and/or unclear vibrotactile input (van der Linden et al, 2011;Yoo and Choi, 2017).…”
Section: Haptic Feedbackmentioning
confidence: 99%
“…Another assumption can be summarised as "[a]ll participants were male" [46, p.22]. While this is not the case for all papers (and even presumably decidedly not for others, e.g., [64]), conventionally cis-male coded culture as show of force [89], skill [103] or expertise [46] further insinuate the assumption of a (white) cis-male body as expected target group. Authors similarly rarely specify the required skills relevant to engage with a specific technology [47], even if increased diversity of bodyminds engaging with a technology might lead to meaningful insights [84].…”
Section: Bodies With Technologiesmentioning
confidence: 99%
“…Advanced human-computer interfaces to implement a more natural or immersive interaction with music have been proposed and/or studied in previous works for a wide array of applications: gaming (Gower & McDowall, 2012) (Wang & Lai, 2011), new instruments creation/simulation (Jordà, 2010), medical rehabilitation (De Dreu, Van der Wilk, Poppe, Kwakkel, & Van Wegen, 2012), modification of visual patterns by using sung or speech voice (Levin & Lieberman, 2004), body motion to sound mapping (Antle, Droumeva, & Corness, 2008) (Castellano, Bresin, Camurri, & Volpe, 2007) (Halpern et al, 2011) (Khoo et al, 2008), orchestra conductor simulation (Morita, Hashimoto, & Ohteru, 1991) (Parton & Edwards, 2009) (Todoroff, Leroy, & Picard-Limpens, 2011), tangible and haptic instrument simulation (Bakker, van den Hoven, & Antle, 2011) (Holland, Bouwer, Dalgelish, & Hurtig, 2010), drum-hitting simulation (Höofer, Hadjakos, & Mühlhäuser, 2009) (Ng, 2004) (Trail et al, 2012) (Odowichuk, Trail, Driessen, Nie, & Page, 2011), etc. Some of the problems commonly identified with advanced human-computer interfaces is that they are usually expensive, intrusive and/ or bulky, being prone to raise ergonomic issues. Fortunately, the emergence of devices like the Wiimote and Kinect has helped to mitigate such issues.…”
Section: Introductionmentioning
confidence: 99%