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Reality-based interfaces have the property of linking the user's physical space with the computer digital content, bringing in intuition, plasticity and expressiveness. Moreover, applications designed upon motion and gesture tracking technologies involve a lot of psychological features, like space cognition and implicit knowledge. All these element...
Context in source publication
Context 1
... particular, my design experiences concern music expressive interaction, music learning environments (see Fig.1) and music production (see Fig.2). Many musical features, like harmony or melodic movements, have been historically depicted by meaningful spatial representations, e.g. the Euler's Tonnetz (see Fig.3, literally "web of tones", a spatial schema showing the triadic relationships upon which tonal harmony is based), or the Gregorian Chant Neumatic Notation and Chironomy, a gestural system expressing melodic contour variations. ...
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In augmented reality (AR), gesture/hand-based interactions are becoming more common place over tangible user interfaces (TUIs) and physical controllers. Major concerns regard portability and battery-life with TUIs and physical controllers in an AR environment. For a TUI or physical controller to be usable "on the go" and in the field, they need to...
Citations
... We would like to suggest that this note arrangement introduces a low threshold for harmonic output for novices, while presenting a path of exploration for seasoned musicians. Later iterations (Fig 2: D) born from TP feedback, employed enactive or implicit knowledges based on existing semiotic relationships hoping to augment the development of a player's cognitive map [27] of this novel note arrangement. ...
Immersive technologies are showing increasing potential for accessible music making. Costs, availability, interfacing methods and open-source development tools allow for exploration of the potential to facilitate atypical minds and bodies. We present a participatory study on the facilitation of accessibility within virtual reality musical environments. This study was carried out during a series of workshops with an experienced group of musicians with congenital physical disabilities and a community music group of novice musicians with acquired brain injuries. We qualitatively evaluate prototype instruments adopted for hand recognition. We examine this embedded process, asking how a musician may understand, organise and personalise their virtual music environment, while examining how co-locating virtual instruments with physical surfaces can be used as potential aids to accessibility. Findings show that when participants are matched to the technology, it contains potential for musicians to gain agency through a process of shared knowledges and shared explorations. Understanding and personalising their own musical environment means perceiving affordances and uncovering hidden affordances. We find the quickly adaptable, visual, iterative processes of participatory design using VR is engaging and motivating for musicians and the wider network of stakeholders
... A recent study by Corrigall and Trainor (2010) has shown that children in preschool age have implicit harmonic knowledge, including chord functions, harmonic relations, and harmonic rhythm, indicating that harmony perception begins to develop earlier than previously suggested. A structured and exhaustive discussion of the above concepts, in the context of technologically-augmented music education, is provided by Mandanici (2017). ...
