Table of Contents: Musical Haptics.

Musical Haptics.

Bibliographic Details
Main Author:	Papetti, Stefano.
Other Authors:	Saitis, Charalampos.
Format:	eBook
Language:	English
Published:	Cham : Springer International Publishing AG, 2018.
Edition:	1st ed.
Series:	Springer Series on Touch and Haptic Systems Series
Subjects:	Electronic books.
Online Access:	Click to View

Table of Contents:

Intro
Series Editors' Foreword
Preface
Contents
Contributors
1 Musical Haptics: Introduction
1.1 Scope and Goals
1.2 Haptic Cues in Music Practice and Fruition
1.3 Musical Devices and Haptic Feedback
1.4 Challenges
1.5 Outline
References
Musical Haptics: Interaction and Perception
2 Once More, with Feeling: Revisiting the Role of Touch in Performer-Instrument Interaction
2.1 Introduction
2.2 A Musician Both Drives and Is Driven by Their Instrument
2.3 The Coupled Dynamics: A New Perspective on Control
2.4 Inner and Outer Loops in the Interaction Between Player and Instrument
2.5 Implications of a Coupled Dynamics Perspective on Learning to Play an Instrument
2.6 Conclusions
References
3 A Brief Overview of the Human Somatosensory System
3.1 Introduction
3.2 Biomechanics of the Hand
3.2.1 Hand Structural Organisation
3.2.2 Hand Mobility
3.2.3 The Volar Hand
3.2.4 Bulk Mechanics of the Fingertip and the Skin
3.3 Sensory Organs
3.3.1 Muscles, Tendons and Joints
3.3.2 Glabrous, Hairy and Mucosal Skin
3.3.3 Electrophysiological Response
3.4 Central Organs
3.5 Conclusions
References
4 Perception of Vibrotactile Cues in Musical Performance
4.1 Introduction
4.1.1 Open-Loop Experimentation
4.1.2 Experiments with Musicians
4.1.3 Premises to the Present Experiments
4.2 Experiment 1: Vibrotactile Sensitivity Thresholds Under Active Touch Conditions
4.2.1 Setup
4.2.2 Procedure
4.2.3 Results
4.2.4 Discussion
4.3 Experiment 2: Vibration Detection at the Piano Keyboard During Performance
4.3.1 Setup
4.3.2 Procedure
4.3.3 Results
4.3.4 Vibration Characterization
4.3.5 Discussion
4.4 Conclusions
References
5 The Role of Haptic Cues in Musical Instrument Quality Perception
5.1 Introduction
5.2 Violin.
5.2.1 Touch and the Conceptualization of Violin Quality by Musicians
5.2.2 Vibrotactile Feedback at the Left Hand
5.3 Piano
5.3.1 Piano Touch and Tone Quality
5.3.2 Haptic Cues and Instrument Quality
5.4 Conclusions
References
6 A Functional Analysis of Haptic Feedback in Digital Musical Instrument Interactions
6.1 Introduction
6.2 Experiment Design
6.2.1 Functionality Testing
6.2.2 Adapting Fitts' Law
6.2.3 Context of Evaluation
6.2.4 Device Description: The Bowls
6.2.5 Device Feedback Implementation
6.2.6 Participants
6.2.7 Procedure
6.3 Results
6.3.1 Functionality Results
6.3.2 Usability Results
6.3.3 User Experience Results
6.3.4 Interview Data
6.3.5 Empathy Mapping
6.4 Discussion
6.5 Conclusions
References
7 Auditory-Tactile Experience of Music
7.1 Introduction
7.2 Experimental Design
7.2.1 Stimuli
7.2.2 Synchronization
7.2.3 Setup
7.2.4 Participants
7.2.5 Procedure
7.3 Vibration Generation: Approaches and Results
7.3.1 Low-Pass Filtering
7.3.2 Reduction to Fundamental Frequency
7.3.3 Octave Shift
7.3.4 Substitute Signals
7.3.5 Compression of Dynamic Range
7.3.6 Summary
7.4 Conclusions
References
Haptic Musical Interfaces: Design and Applications
8 The MSCI Platform: A Framework for the Design and Simulation of Multisensory Virtual Musical Instruments
8.1 Introduction
8.2 A Physical Approach to Digital Musical Instruments
8.2.1 Distributed Approach to Haptic Digital Musical Instruments
8.2.2 Unitary Approach to Virtual Musical Instruments
8.3 Hardware and Software Solutions for the MSCI Platform
8.3.1 The TGR Haptic System
8.3.2 The CORDIS-ANIMA Formalism
8.3.3 The GENESIS Software Environment
8.3.4 Synchronous Real-Time Computing Architecture.
8.4 Multi-rate Decomposition of the Instrumental Chain
8.4.1 Gesture-Sound Dynamics
8.4.2 Multi-rate CORDIS-ANIMA Simulations
8.5 Virtual Instruments Created with MSCI
8.5.1 Workflow and Design Process
8.5.2 Specificities of MSCI Haptic Virtual Instruments
8.5.3 Real-Time Performance in Hélios
8.6 Conclusions
References
9 Force-Feedback Instruments for the Laptop Orchestra of Louisiana
9.1 Introduction
9.1.1 Multisensory Feedback for Musical Instruments
9.1.2 Additional Force-Feedback Device Designs from the Haptics Community
9.1.3 Open-Source Technology for the Design of Haptic Musical Instruments
9.1.4 Laptop Orchestra of Louisiana
9.2 Enabling Precise and Physically Intuitive Control of Sound (``Quartet for Strings'')
9.2.1 Instrument Design
9.2.2 Performance Techniques
9.2.3 Compositional Structure
9.3 Traditional Controls Can Be Used Alongside Force-Feedback Controls (``Of Grating Impermanence'')
9.3.1 Instrument Design
9.3.2 Performance Techniques
9.3.3 Compositional Structure
9.4 Finding Timbres that Sound Uncannily Familiar but Are Nonetheless Novel (``Guest Dimensions'')
9.4.1 Instrument Design
9.4.2 Performance Techniques
9.4.3 Compositional Structure
9.5 Conclusions
References
10 Design of Vibrotactile Feedback and Stimulation for Music Performance
10.1 Introduction
10.2 Haptic Feedback in Music Technology
10.2.1 Models of Haptic-Enabled Interfaces
10.2.2 Haptic-Enabled Interfaces
10.3 Development and Evaluation of Tactile Icons for Music Performance
10.3.1 Hardware and Software
10.3.2 Symbolic and Musical Tactons: Design and Evaluation
10.3.3 Implementation into Live Performance
10.4 Conclusions
References
11 Haptics for the Development of Fundamental Rhythm Skills, Including Multi-limb Coordination.
11.1 Introduction
11.2 Motivation and Theoretical Background
11.2.1 Dalcroze Eurhythmics
11.2.2 Metrical Hierarchies and Polyrhythms
11.2.3 Cognitive Science: Entrainment and Neural Resonance
11.3 Applications of the Haptic Bracelets
11.3.1 The "Haptic IPod"
11.3.2 Drum Teaching with Haptic Bracelets
11.3.3 Musician Coordination and Synchronisation
11.3.4 Teaching Multi-limb Drum Patterns by Multi-limbed Haptic Cueing
11.4 Experimental Results
11.4.1 Supporting Learning of Rhythm Skills with the Haptic Drum Kit
11.4.2 Learning Multi-limb Rhythms with Improved Haptic Drum Kit
11.4.3 Passive Learning of Multi-limb Rhythm Skills
11.5 Related Work
11.6 Conclusions
References
12 Touchscreens and Musical Interaction
12.1 Introduction
12.2 Perceptual Aspects of Auditory and Haptic Modalities for Musical Touchscreen Applications
12.2.1 Intensity
12.2.2 Frequency
12.2.3 Temporal Acuity and Rhythm Perception
12.2.4 Synchrony
12.3 Experiment 1: Identification of Audio-Driven Tactile Feedback on a Touchscreen
12.3.1 Stimuli
12.3.2 Set-up
12.3.3 Subjects
12.3.4 Results and Discussion
12.3.5 Usability and Attractiveness
12.4 Experiment 2: Effect of Loudness on Perceived Tactile Intensity of Virtual Buttons
12.4.1 Stimuli
12.4.2 Set-up
12.4.3 Subjects
12.4.4 Procedure
12.4.5 Results and Discussion
12.5 Conclusions
References
13 Implementation and Characterization of Vibrotactile Interfaces
13.1 Introduction
13.2 Vibrotactile Actuators' Technology
13.3 Interface Examples
13.3.1 The Touch-Box
13.3.2 The VibroPiano
13.3.3 The HSoundplane
13.4 Conclusions
References
Appendix Glossary and Abbreviations.

Musical Haptics.

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