Non-tactile Gestural Control in Musical Performance

Mainsbridge, Mary

doi:10.1145/2617995.2618021

Cited by 2 publications

(2 citation statements)

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“…Some very recent published works in the musical area using the Leap Motion for isolated control of digital instruments, commonly the piano, have been proposed [17], [12], [11], [24]. For instance, in [24], the Leap Motion device is used in conjunction with a "glass board", containing markings of a piano's keyboard made with ink.…”

Section: Related Workmentioning

confidence: 99%

“…The visual feedback provides concrete information about the ways in which the user can control the application through gestures and how effective is this control. However, neither the potential to display the musical structure of a piece and its visual elements [17], nor different forms of orchestral conduction via gestural interface (in which a set of musical instruments is organized into sections) have been fully explored. In the past, several initiatives focused on virtual forms of conducting using the computer, but they were not promising concerning the level of user satisfaction or the quality of the perceived user experience.…”

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Gesture-Driven Interaction Using the Leap Motion to Conduct a 3D Particle System: Evaluation and Analysis of an Orchestral Performance

Fonteles

Silva

Rodriguês

2015

JIS

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In this work, we present and evaluate an interactive simulation of 3D particles conducted by the Leap Motion, for an orchestral arrangement. A real-time visual feedback during gesture entry is generated for the conductor and the audience, through a set of particle emitters displayed on the screen and the path traced by the captured gesture. We use two types of data input: the captured left and right hand conducting gestures (some universal movements, such as the beat patterns for the most common time signatures, the indication of a specific section of the orchestra, and the cutoff gestures), which are responsible for setting the tempo and dynamics of the orchestra; and a MIDI file, which contains information about the score of an orchestral arrangement, defining which notes each musical instrument should play. As regards the gestural input of the conductor, we have considered two musical elements of expression: tempo and dynamics. Besides performing functional testing, we analyzed the simulation results focusing on the occurrence of false positives, false negatives, positional deviations and latency. Moreover, a professional conductor evaluated our system and provided qualitative feedback about it.

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Section: Related Workmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%