Interactive Vibrotactile Feedback Enhances the Perceived Quality of a Surface for Musical Expression and the Playing Experience

Papetti, Stefano; Järveläinen, Hanna; Schiesser, Sébastien

doi:10.1109/toh.2021.3060625

Cited by 9 publications

(5 citation statements)

References 29 publications

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“…The present results show generally smaller effects than previous studies concerning a digital piano [13] and a haptic surface for musical expression [12]. A key difference is that those studies compared a haptic feedback condition with a setup lacking vibration entirely.…”

Section: Discussioncontrasting

confidence: 93%

“…The present authors previously conducted several assessments of the relevance of vibration to the perceived quality of musical instruments, to the performer's experience, and performance. In doing so, we addressed various digital musical interfaces and instruments augmented with vibrotactile feedback-either self-developed [11], or existing advanced ones [12]-as well as acoustic and digital pianos [13]. Generally, it was found that vibration consistent with the produced sound can indeed enhance the player's engagement, their connection with the instrument, and its overall perceived quality.…”

Section: Introductionmentioning

confidence: 99%

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Exploring the Effects of Additional Vibration on the Perceived Quality of an Electric Cello

Järveläinen,

Papetti,

Larrieux

2024

Vibration

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Haptic feedback holds the potential to enhance the engagement and expressivity of future digital and electric musical instruments. This study investigates the impact of artificial vibration on the perceived quality of a silent electric cello. We developed a haptic cello prototype capable of rendering vibration signals of varying degree of congruence with the produced sound. Experienced cellists participated in an experiment comparing setups with and without vibrotactile feedback, rating them on preference, perceived power, liveliness, and feel. Results show nuanced effects, with added vibrations moderately enhancing feel and liveliness, and significantly increasing perceived power when using vibrations obtained from the pickup at the cello’s bridge. High uncertainty in our statistical model parameters underscores substantial individual differences in the participants responses, as commonly found in qualitative assessments, and highlights the importance of consistent feedback in the vibrotactile and auditory channels. Our findings contribute valuable insights to the intersection of haptics and music technology, paving the way for creating richer and more engaging experiences with future musical instruments.

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Section: Discussioncontrasting

confidence: 93%

Section: Introductionmentioning

confidence: 99%

Exploring the Effects of Additional Vibration on the Perceived Quality of an Electric Cello

Järveläinen,

Papetti,

Larrieux

2024

Vibration

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“…Mean responses were estimated by Bayesian inference using a zero-one-inflated beta (ZOIB) model Kruschke (2014); Liu and Kong (2015); Ospina and Ferrari (2010). The model and detailed results are described in Papetti et al (2021). On average, the vibrating setups were preferred to their nonvibrating versions: In fact, all mean estimates but one are above 0.50 (the point of perceived equality), as well as most of the respective credible intervals 12 .…”

Section: Resultsmentioning

confidence: 99%

“…While looking at this pervasive overlap between accurate physical interaction and creative context, this paper summarizes results proposed by the authors over recent years in form of design, application, and evaluation of various digital musical interfaces Fontana et al (2015); Järveläinen et al (2022); Papetti et al ( , 2021. In contrast to most previous studies on the topic, our research aimed to achieve a high level of scientific rigor, with the goal of producing a solid foundation of empirical evidence that can be replicated by other researchers and practitioners.…”

Section: Introductionmentioning

confidence: 99%

Design and Assessment of Digital Musical Devices Yielding Vibrotactile Feedback

Papetti

Järveläinen

Fontana

2023

Arts

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Touch has a pivotal importance in determining the expressivity of musical performance for a number of musical instruments. However, most digital musical devices provide no interactive force and/or vibratory feedback to the performer, thus depriving the somatosensory channel of a number of cues. Is the lack of haptic feedback only an aesthetic issue, or does it remove cues essential for digital instrument playing? If so, at which level is the interaction objectively impoverished? What are the effects on musical performance? In this survey article we illustrate our recent research about the use of vibrotactile feedback in three digital instrument interfaces, using tools that we developed over several years and made available to the community in open-source form. These interfaces span a wide range of familiarity and gestural opportunities, enabling us to explore the impact of haptic feedback on different types of digital instruments. We conducted experiments with professional musicians to assess the impact of vibratory cues on both the perceived quality of the instrument and the playing experience, as well as on musical performance. Particular attention was paid to scientific rigor and repeatability of the results, so as to serve as a reference for researchers and practitioners of the musical haptics community. Our results suggest a significant role of vibrotactile feedback in shaping the perception of digital musical instruments, although the effects on musical performance varied depending on the interfaces tested.

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“…También es frecuente el uso de wearables o dispositivos adaptables al cuerpo para transmitir el ritmo musical (ver Ilustración 6), observándose que no todas las partes del cuerpo son susceptibles de aportar una mejora en la experiencia musical (Alves Arujo et al, 2017;Trivedi et al, 2019;De Guglielmo et al, 2021;Sun et al, 2021;Turchet et al, 2021). Otro tipo de dispositivo son pequeñas plataformas vibradoras para las manos (Papetti, 2021) o para los pies (Hopkins et al, 2016;Mariscal Rock, 2017), que según han demostrado algunos estudios proporcionan una experiencia musical más enriquecedora (Cavdir, 2022;Remache-Vinueza et al, 2022). En estos dispositivos se transmite una señal vibro-táctil que mapea la señal acústica.…”

Section: Dispositivos Vibrotáctiles Para Compartir Músicaunclassified

Los caminos compartidos del tacto y el sonido hacia la emoción: Evidencias neurocientíficas actuales

García López,

Lucía Mulas,

Ruiz Mezcua

et al. 2024

Arbor

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La característica más representativa de la música es su capacidad de generar emoción. Pero ¿por qué la música emociona? En este artículo mostramos los conocimientos actuales de la teoría musical y la neurociencia que intentan explicar las relaciones que existen entre la música y las emociones. En primer lugar, se repasan los conocimientos actuales sobre el procesamiento de los sonidos musicales a nivel cerebral y las posibles explicaciones del origen de la emoción musical, así como la contribución de los distintos parámetros musicales a la generación de emociones, considerando estructuras musicales de nuestro mundo occidental. En segundo lugar, se presenta el canal táctil como un posible canal de transmisión de la emoción musical análogo al canal auditivo, pero con más limitaciones en la discriminación de frecuencias. Este acercamiento se produce desde la profunda fascinación que ejerce la música, con la esperanza de encontrar vías para explicar la transmisión de la emoción musical desde un canal alternativo.

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Interactive Vibrotactile Feedback Enhances the Perceived Quality of a Surface for Musical Expression and the Playing Experience

Cited by 9 publications

References 29 publications

Exploring the Effects of Additional Vibration on the Perceived Quality of an Electric Cello

Exploring the Effects of Additional Vibration on the Perceived Quality of an Electric Cello

Design and Assessment of Digital Musical Devices Yielding Vibrotactile Feedback

Los caminos compartidos del tacto y el sonido hacia la emoción: Evidencias neurocientíficas actuales

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