Internet of Musical Things: Vision and Challenges

Turchet, Luca; Fischione, Carlo; Essl, Georg; Keller, Damián; Barthet, Mathieu

doi:10.1109/access.2018.2872625

Cited by 181 publications

(114 citation statements)

References 90 publications

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“…In addition, the use of augmented reality facilitates the visualization of elements such as finger placement [27]. Examples include HoloKeys [28] and PIANO [29], which are augmented reality tools that help users learn to play a real piano [30]; the Internet of Musical Things (IoMusT), which is a research field within the Internet of Things seeking to achieve computer-human interaction with music [31]; and a piece of research entitled Malaysia Music Augmented Reality, the goal of which is to help students to learn a musical instrument at any time [32]. It is important that augmented reality systems provide information in a way that clarifies the perceptions of the original material, while forming an integral part of the entire learning workflow [33,34].…”

Section: Introductionmentioning

confidence: 99%

AR Graphic Representation of Musical Notes for Self-Learning on Guitar

et al. 2019

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Despite being one of the most commonly self-taught instruments, and despite the ready availability of significant amounts of didactic material, the guitar is a challenging instrument to learn. This paper proposes an application based on augmented reality (AR) that is designed to teach beginner students basic musical chords on the guitar, and provides details of the experimental study performed to determine whether the AR methodology produced faster results than traditional one-on-one training with a music teacher. Participants were divided into two groups of the same size. Group 1 consisted of 32 participants who used the AR app to teach themselves guitar, while Group 2, with a further 32 participants, received formal instruction from a music teacher. Results found no differences in learning times between the two groups based on the variables of method and gender. However, participant feedback suggested that there are advantages to the self-taught approach using AR that are worth considering. A system usability scale (SUS) questionnaire was used to measure the usability of the application, obtaining a score of 82.5, which was higher than the average of 68 that indicates an application to be good from a user experience point of view, and satisfied the purpose for which the application was created.

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Section: Introductionmentioning

confidence: 99%

AR Graphic Representation of Musical Notes for Self-Learning on Guitar

et al. 2019

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“…Furthermore, we will extend the results of this study for the application of MHWs for performer-performer interactions in remote settings. Other types of interactions will also be addressed such as between performers and Musical Things [11], as well as between performers and audience members (see e.g., [37]), in co-located or remote settings.…”

Section: Discussionmentioning

confidence: 99%

“…The Internet of Musical Things (IoMusT) is a novel research field at the intersection of the Internet of Things and Sound and Music Computing, with a particular focus on multisensory facets [11]. It relates to the network of objects and interfaces dedicated to the production, interaction and reception of musical content.…”

Section: Introductionmentioning

confidence: 99%

“…The exploratory workshop began with a presentation given by the experimenter, which introduced the concepts of the IoMusT [11] and the MHWs [12]. The purpose of the presentation was to provide effective understanding of the overall IoMusT framework and existing and planned technology, with a particular focus on MHWs.…”

Section: Procedures 1) Explanatory Introductionmentioning

confidence: 99%

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Co-Design of Musical Haptic Wearables for Electronic Music Performer's Communication

Turchet

Barthet

2019

IEEE Trans. Human-Mach. Syst.

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Communication between performers is a fundamental aspect in music performance. A large number of electronic music instruments based on tangible and screen-based interfaces require a focused visual attention from performers while they are controlled. In certain stage and artistic configurations, this may be an obstacle to face-to-face creative interactions between coperformers and their collaborators. To address these issues, we adopted a user-centered design methodology to develop a novel class of IoT devices that we term Musical Haptic Wearables for performers. We conducted a co-design workshop with ten electronic musicians using focus-group discussions and the bootlegging technique. This workshop identified numerous creative communication issues between performers in electronic music practice and prepared mock-up prototypes. We then developed three chest-, foot-and arm-worn haptic wearables respectively for co-performer, performer-conductor, and performer-sound engineer interactions. The wearables were assessed with 25 participants using a mixed methods approach. High accuracies (70-100%) were obtained for musical actions expected after instructions wirelessly communicated via tactile signals. The results provide evidence that musical haptic wearables can be an effective medium of communication in the context of electronic music performances. Further challenges were identified regarding size and placement of the devices on the body, interferences with concurrent vibrations generated by music signals, limitations on the range of creative controls, and a required training curve.

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“…For instance, the interactions based on keyboards and mouse for input and monitor for output have very different properties to real-world interactions (Gaver, 1992). In contrast, virtual reality (VR) provides a novel space for multisensory experiences (Turchet et al, 2018), and enables people to see, hear, and even interact with a virtual space naturally. It offers the potential for people to coordinate collaborative activities in a much more similar way to the real world, presenting people an opportunity to collaborate in virtual space in a more natural way in comparison to non-immersive digital media.…”

Section: Introductionmentioning

confidence: 99%

Designing spaces to support collaborative creativity in shared virtual environments

Men

Bryan-Kinns

Bryce

2019

PeerJ Computer Science

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Shared virtual environments (SVEs) have been researched extensively within the fields of education, entertainment, work, and training, yet there has been limited research on the creative and collaborative aspects of interactivity in SVEs. The important role that creativity and collaboration play in human society raises the question of the way that virtual working spaces might be designed to support collaborative creativity in SVEs. In this paper, we outline an SVE named LeMo, which allows two people to collaboratively create a short loop of music together. Then we present a study of LeMo, in which 52 users composed music in pairs using four different virtual working space configurations. Key findings indicated by results include: (i) Providing personal space is an effective way to support collaborative creativity in SVEs, (ii) personal spaces with a fluid light-weight boundary could provide enough support, worked better and was preferable to ones with rigid boundaries and (iii) a configuration that provides a movable personal space was preferred to one that provided no mobility. Following these findings, five corresponding design implications for shared virtual environments focusing on supporting collaborative creativity are given and conclusions are made.

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Internet of Musical Things: Vision and Challenges

Cited by 181 publications

References 90 publications

AR Graphic Representation of Musical Notes for Self-Learning on Guitar

AR Graphic Representation of Musical Notes for Self-Learning on Guitar

Co-Design of Musical Haptic Wearables for Electronic Music Performer's Communication

Designing spaces to support collaborative creativity in shared virtual environments

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