Understanding Music Interaction, and Why It Matters

Holland, Simon; Mudd, Tom; Wilkie-McKenna, Katie; McPherson, Andrew; Wanderley, Marcelo M.

doi:10.1007/978-3-319-92069-6_1

Cited by 9 publications

(5 citation statements)

References 60 publications

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“…This gives DMI designers and music makers limitless access to sounds and ways of connecting sounds to gesture [57,60]. The challenge of creating meaningful mappings of movement to sound, and overcoming the potential excess of possibilities becoming a "mapping problem" [57], is well researched in HCI and the New Instruments for Musical Expression community, with DMI designers recommending several different approaches to this problem [1,8,12,29,30,40,57,59].…”

Section: Background 21 Gestural Digital Musical Instrumentsmentioning

confidence: 99%

Inclusive Improvisation: Exploring the Line between Listening and Playing Music

Ilsar

Kenning

Trolland

et al. 2022

ACM Trans. Access. Comput.

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The field of Accessible Digital Musical Instruments (ADMIs) is growing rapidly, with instrument designers recognising that adaptations to existing Digital Musical Instruments (DMIs) can foster inclusive music making. ADMIs offer opportunities to engage with a wider range of sounds than acoustic instruments. Furthermore, gestural ADMIs free the music maker from relying on screen, keyboard, and mouse-based interfaces for engaging with these sounds. This brings greater opportunities for exploration, improvisation, empowerment, and flow through music making for people with disability and the communities of practice they are part of. This article argues that developing ADMIs from existing DMIs can speed up the process and allow for more immediate access for those with diverse needs. It presents three case studies of a gestural DMI, originally designed by the first author for his own creative practice, played by people with disability in diverse contexts. The article shows that system-based considerations that enabled an expert percussionist to achieve virtuoso performances with the instrument required minimal hardware and software changes to facilitate greater inclusivity. Understanding the needs of players and customising the system-based movement to sound mappings was of far greater importance in making the instrument accessible.

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Section: Background 21 Gestural Digital Musical Instrumentsmentioning

confidence: 99%

Inclusive Improvisation: Exploring the Line between Listening and Playing Music

Ilsar

Kenning

Trolland

et al. 2022

ACM Trans. Access. Comput.

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“…A user-centered approach to music generation involves actively involving users in the system's design, development, and refinement [7]. This approach prioritizes users' needs, preferences, and feedback to create a more personalized and satisfying musical experience.…”

Section: Introductionmentioning

confidence: 99%

Crafting Creative Melodies: A User-Centric Approach for Symbolic Music Generation

Dadman,

Bremdal

2024

Electronics

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Composing coherent and structured music is one of the main challenges in symbolic music generation. Our research aims to propose a user-centric framework design that promotes a collaborative environment between users and knowledge agents. The primary objective is to improve the music creation process by actively involving users who provide qualitative feedback and emotional assessments. The proposed framework design constructs an abstract format in which a musical piece is represented as a sequence of musical samples. It consists of multiple agents that embody the dynamics of musical creation, emphasizing user-driven creativity and control. This user-centric approach can benefit individuals with different musical backgrounds, encouraging creative exploration and autonomy in personalized, adaptive environments. To guide the design of this framework, we investigate several key research questions, including the optimal balance between system autonomy and user involvement, the extraction of rhythmic and melodic features through musical sampling, and the effectiveness of topological and hierarchical data representations. Our discussion will highlight the different aspects of the framework in relation to the research questions, expected outcomes, and its potential effectiveness in achieving objectives. Through establishing a theoretical foundation and addressing the research questions, this work has laid the groundwork for future empirical studies to validate the framework and its potential in symbolic music generation.

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“…Here, the pan potentiometer maps the left and right position of a knob to the left and right location of a sound. In general, the mixing console can be seen as a metaphor on its own and it has brought with it visually rich interfaces and representations of controls via graphical faders and knobs [15]. A mixing console can be divided into two main categories:…”

Section: Introductionmentioning

confidence: 99%

Spatial Audio Mixing in Virtual Reality

Bargum

Kristjánsson

Babó

et al. 2022

Sonic Interactions in Virtual Environments

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The development of Virtual Reality (VR) systems and multimodal simulations presents possibilities in spatial-music mixing, be it in virtual spaces, for ensembles and orchestral compositions or for surround sound in film and music. Traditionally, user interfaces for mixing music have employed the channel-strip metaphor for controlling volume, panning and other audio effects that are aspects that also have grown into the culture of mixing music spatially. Simulated rooms and two-dimensional panning systems are simply implemented on computer screens to facilitate the placement of sound sources within space. In this chapter, we present design aspects for mixing in VR, investigating already existing virtual music mixing products and creating a framework from which a virtual spatial-music mixing tool can be implemented. Finally, the tool will be tested against a similar computer version to examine whether or not the sensory benefits and palpable spatial proportions of a VE can improve the process of mixing 3D sound.

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Understanding Music Interaction, and Why It Matters

Abstract: M. eds. New Directions in Music and Human-Computer Interaction. Springer Series on Cultural Computing. Springer, pp. 1-20. For guidance on citations see FAQs.

Cited by 9 publications

References 60 publications

Inclusive Improvisation: Exploring the Line between Listening and Playing Music

Inclusive Improvisation: Exploring the Line between Listening and Playing Music

Crafting Creative Melodies: A User-Centric Approach for Symbolic Music Generation

Spatial Audio Mixing in Virtual Reality

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