<i>MusiCam</i>: an instrument to demonstrate chromaphonic synesthesia

Yau, Derek; McCrindle, Rachel

doi:10.1080/14626260701401510

Cited by 3 publications

(4 citation statements)

References 6 publications

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“…The 18th and 19th century marked the creation of colored organs, clavichords, and pianos (Klein, 1937;Peacock, 1988). Presently, computers are used for this purpose (Cadiz, 2006;Dean, Whitelaw, Smith, & Worrall, 2006;Gunther & O'Modhrain, 2003;Li, Tao, Maybank, & Yuan, 2008;Whitelaw, 2008;Yau & McCrindle, 2007).…”

Section: Kinds Of Synaesthesia Known From Scientific Literaturementioning

confidence: 99%

Categorization of Synaesthesia

Rogowska

2011

Review of General Psychology

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This article is an attempt to synthesize the current knowledge about synaesthesia from many fields such as literature, arts, multimedia, medicine, or psychology. The main goal of this paper is to classify various types and forms of synaesthesia. Besides developmental synaesthesia being likely to play a crucial role in developing cognitive functions (constitutional or neonatal synaesthesia) there are types of synaesthesia acquired during adulthood (e.g., phantom or artificial synaesthesia), momentary synaesthesia triggered temporarily in people who do not show signs of synaesthesia every day (e.g., virtual, narcotic, or posthypnotic synaesthesia), and associational synaesthesia which, semantically speaking, refers to some universal sense relations (e.g., literary, artistic, and multimedia synaesthesia). There is a hypothesis that every kind of synaesthesia holds a different function-compensatory or integrative. It was suggested that synaesthesia can be described in one dimension, showing the intensity of this phenomenon. The stronger types of synaesthesia are: semantic, conceptual, intermodal, synthetic, comprehensive, external and bidirectional. The weaker types of synaesthesia are: sensory, perceptual, intramodal, analytic, partial, internal and unidirectional. There are huge individual differences in the manner that synaesthesia presents itself. By including a classification of kinds, types, and forms of synaesthesia into future experimental research will ensure a better understanding of the nature of this phenomenon, its mechanisms and the role that it plays in developing cognitive processes.

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Section: Kinds Of Synaesthesia Known From Scientific Literaturementioning

confidence: 99%

Categorization of Synaesthesia

Rogowska

2011

Review of General Psychology

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“…Therefore, camera based systems offer ideal capabilities when tracking and monitoring objects in the physical world, allowing motion, size, distance, brightness and colour data to be obtained. Yau et al explored this with 'MusiCam' [3], creating a system using a spinning wheel with coloured bricks to trigger musical samples. Through placing the blocks in different positions and revolving the wheel, users can create bespoke compositions.…”

Section: Introductionmentioning

confidence: 99%

“…1 https://www.theguardian.com/teachernetwork/2017/jan/31/the-reality-of-budget-cuts-in-schoolssurvey 2 https://www.musicmark.org.uk/marketplace/musical-routesa-landscape-for-music-education/ Ableton have also addressed the need for low cost musical devices to learn concepts of music making, that serve as learning materials, through their newly launched online interfaces 3 .…”

Section: Introductionmentioning

confidence: 99%

“…This focused on how through the use of accelerometers and gyroscopes, sports balls can be used as music controllers when installed in a public setting. Participants interacted with these physical musical controllers by rolling, throwing and bouncing in 3 a playful manner. The subject of public installations providing interactive music has also been explored when discussing health benefits, as they often promote physical exercise and general well-being [4].…”

Section: Introductionmentioning

confidence: 99%

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Supporting Creative Confidence in a Musical Composition Workshop

Davenport

Lochrie

Law

2017

Extended Abstracts Publication of the Annual Symposium on Computer-Human Interaction in Play

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This paper explores and illuminates the work in progress of the 'Sound of Colour', an interactive musical installation, used to introduce musical concepts to children. Participants work in a collaborative manner to throw, roll, spin and bounce, coloured balls (typically found in children's ball pits) to create an original generative musical composition, whilst learning the basics of pitch and volume. Through qualitative analysis and observations, the research discusses how a playful, colour based table top interface, affects the way that children interact with basic fundamentals of music, and how the interface affects their creative confidence when learning musical concepts. This study provides insight into how children interact and engage with a physical musical interface, in comparison to other tangible interfaces (button based controllers and mobile devices). In particular, when these instruments are used in a workshop setting, the research reveals novel methods for interaction with children to encourage and open up access to music composition.

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