Embodied Human Computer Interaction In Vocal Music Performance

This SpringerBrief provides a unique insight into the practice and research of the connections between voice, HCI and embodiment. Specifically, it explores how the voice can be embodied and mediated by means of gestural communication through sensor interfaces and aims to situate and contextualise various aspects that generate meaningful connections in such interactive interface performance. The author offers an approach for understanding creative practices between humans and computers in gestural live music performance, from the perspective of the embodied relationships created within such systems. Underlying practices, principles and sensor technologies that support creativity in embodied human-computer interaction in vocal music performance are examined and a dynamic framework and tools for anyone wishing to engage with this subject in depth are presented. The book is essential reading not only for musicians, composers, researchers, application developers, musicologists and educators but also for students and tertiary institutions as well as actors and dramaturgs in a music context.

This SpringerBrief provides a unique insight into the practice and research of the connections between voice, HCI and embodiment. Specifically, it explores how the voice can be embodied and mediated by means of gestural communication through sensor interfaces and aims to situate and contextualise various aspects that generate meaningful connections in such interactive interface performance. The author offers an approach for understanding creative practices between humans and computers in gestural live music performance, from the perspective of the embodied relationships created within such systems. Underlying practices, principles and sensor technologies that support creativity in embodied human-computer interaction in vocal music performance are examined and a dynamic framework and tools for anyone wishing to engage with this subject in depth are presented. The book is essential reading not only for musicians, composers, researchers, application developers, musicologists and educators but also for students and tertiary institutions as well as actors and dramaturgs in a music context. .

Computing is transforming how we interact with music. New theories and new technologies have emerged that present fresh challenges and novel perspectives for researchers and practitioners in music and human-computer interaction (HCI). In this collection, the interdisciplinary field of music interaction is considered from multiple viewpoints: designers, interaction researchers, performers, composers, audiences, teachers and learners, dancers and gamers. The book comprises both original research in music interaction and reflections from leading researchers and practitioners in the field. It explores a breadth of HCI perspectives and methodologies: from universal approaches to situated research within particular cultural and aesthetic contexts. Likewise, it is musically diverse, from experimental to popular, classical to folk, including tango, laptop orchestras, composition and free improvisation.

The 13th International Conference on Human–Computer Interaction, HCI Inter- tional 2009, was held in San Diego, California, USA, July 19–24, 2009, jointly with the Symposium on Human Interface (Japan) 2009, the 8th International Conference on Engineering Psychology and Cognitive Ergonomics, the 5th International Conference on Universal Access in Human–Computer Interaction, the Third International Conf- ence on Virtual and Mixed Reality, the Third International Conference on Internati- alization, Design and Global Development, the Third International Conference on Online Communities and Social Computing, the 5th International Conference on Augmented Cognition, the Second International Conference on Digital Human Mod- ing, and the First International Conference on Human Centered Design. A total of 4,348 individuals from academia, research institutes, industry and gove- mental agencies from 73 countries submitted contributions, and 1,397 papers that were judged to be of high scientific quality were included in the program. These papers - dress the latest research and development efforts and highlight the human aspects of design and use of computing systems. The papers accepted for presentation thoroughly cover the entire field of human–computer interaction, addressing major advances in the knowledge and effective use of computers in a variety of application areas.

The International Gesture Workshops (GW) are interdisciplinary events for those researching gesture-based communication across the disciplines. The focus of these events is a shared interest in understanding gestures and sign language in their many facets, and using them for advancing human–machine interaction. Since 1996, International Gesture Workshops have been held roughly every second year, with fully reviewed proceedings published by Springer. The International Gesture Workshop GW 2009 was hosted by Bielefeld University’s Center for Interdisciplinary Research (ZiF – Zentrum für interdisziplinäre Forschung) during February 25–27, 2009. Like its predecessors, GW 2009 aimed to provide a platform for participants to share, discuss, and criticize recent and novel research with a multidisciplinary audience. More than 70 computer scientists, linguistics, psychologists, neuroscientists as well as dance and music scientists from 16 countries met to present and exchange their newest results under the umbrella theme “Gesture in Embodied Communication and Human–Computer Interaction. ” Consistent with the steady growth of research activity in this area, a large number of high-quality submissions were received, which made GW 2009 an exciting and important event for anyone interested in gesture-related technological research relevant to human–computer interaction. In line with the practice of previous gesture workshops, presenters were invited to submit theirs papers for publication in a subsequent peer-reviewed publication of high quality. The present book is the outcome of this effort. Representing the research work from eight countries, it contains a selection of 28 thoroughly reviewed articles.

This book discusses all aspects of computing for expressive performance, from the history of CSEMPs to the very latest research, in addition to discussing the fundamental ideas, and key issues and directions for future research. Topics and features: includes review questions at the end of each chapter; presents a survey of systems for real-time interactive control of automatic expressive music performance, including simulated conducting systems; examines two systems in detail, YQX and IMAP, each providing an example of a very different approach; introduces techniques for synthesizing expressive non-piano performances; addresses the challenges found in polyphonic music expression, from a statistical modelling point of view; discusses the automated analysis of musical structure, and the evaluation of CSEMPs; describes the emerging field of embodied expressive musical performance, devoted to building robots that can expressively perform music with traditional instruments.

This open access book offers an original interdisciplinary overview of the role of haptic feedback in musical interaction. Divided into two parts, part I examines the tactile aspects of music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality and perceived quality of musical instruments. Part II presents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. Musical Haptics introduces an emerging field that brings together engineering, human-computer interaction, applied psychology, musical aesthetics, and music performance. The latter, defined as the complex system of sensory-motor interactions between musicians and their instruments, presents a well-defined framework in which to study basic psychophysical, perceptual, and biomechanical aspects of touch, all of which will inform the design of haptic musical interfaces. Tactile and proprioceptive cues enable embodied interaction and inform sophisticated control strategies that allow skilled musicians to achieve high performance and expressivity. The use of haptic feedback in digital musical interfaces is expected to enhance user experience and performance, improve accessibility for disabled persons, and provide an effective means for musical tuition and guidance.

This agenda-setting book presents state of the art research in Music and Human-Computer Interaction (also known as ‘Music Interaction’). Music Interaction research is at an exciting and formative stage. Topics discussed include interactive music systems, digital and virtual musical instruments, theories, methodologies and technologies for Music Interaction. Musical activities covered include composition, performance, improvisation, analysis, live coding, and collaborative music making. Innovative approaches to existing musical activities are explored, as well as tools that make new kinds of musical activity possible. Music and Human-Computer Interaction is stimulating reading for professionals and enthusiasts alike: researchers, musicians, interactive music system designers, music software developers, educators, and those seeking deeper involvement in music interaction. It presents the very latest research, discusses fundamental ideas, and identifies key issues and directions for future work.