| 1. |
- Frid, Emma, 1988-
(författare)
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Accessible Digital Musical Instruments : A Review of Musical Interfaces in Inclusive Music Practice
- 2019
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Ingår i: Multimodal Technologies and Interaction. - : MDPI. - 2414-4088. ; 3:3
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Tidskriftsartikel (refereegranskat)abstract
- Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (15.6%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams.
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| 2. |
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| 3. |
- Frid, Emma, 1988-
(författare)
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Diverse Sounds : Enabling Inclusive Sonic Interaction
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This compilation thesis collects a series of publications on designing sonic interactions for diversity and inclusion. The presented papers focus on case studies in which musical interfaces were either developed or reviewed. While the described studies are substantially different in their nature, they all contribute to the thesis by providing reflections on how musical interfaces could be designed to enable inclusion rather than exclusion. Building on this work, I introduce two terms: inclusive sonic interaction design and Accessible Digital Musical Instruments (ADMIs). I also define nine properties to consider in the design and evaluation of ADMIs: expressiveness, playability, longevity, customizability, pleasure, sonic quality, robustness, multimodality and causality. Inspired by the experience of playing an acoustic instrument, I propose to enable musical inclusion for under-represented groups (for example persons with visual- and hearing-impairments, as well as elderly people) through the design of Digital Musical Instruments (DMIs) in the form of rich multisensory experiences allowing for multiple modes of interaction. At the same time, it is important to enable customization to fit user needs, both in terms of gestural control and provided sonic output. I conclude that the computer music community has the potential to actively engage more people in music-making activities. In addition, I stress the importance of identifying challenges that people face in these contexts, thereby enabling initiatives towards changing practices.
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| 4. |
- Frid, Emma, et al.
(författare)
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Interactive sonification of a fluid dance movement : an exploratory study
- 2019
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Ingår i: Journal on Multimodal User Interfaces. - : Springer. - 1783-7677 .- 1783-8738. ; 13:3, s. 181-189
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Tidskriftsartikel (refereegranskat)abstract
- In this paper we present three different experiments designed to explore sound properties associated with fluid movement: (1) an experiment in which participants adjusted parameters of a sonification model developed for a fluid dance movement, (2) a vocal sketching experiment in which participants sketched sounds portraying fluid versus nonfluid movements, and (3) a workshop in which participants discussed and selected fluid versus nonfluid sounds. Consistent findings from the three experiments indicated that sounds expressing fluidity generally occupy a lower register and has less high frequency content, as well as a lower bandwidth, than sounds expressing nonfluidity. The ideal sound to express fluidity is continuous, calm, slow, pitched, reminiscent of wind, water or an acoustic musical instrument. The ideal sound to express nonfluidity is harsh, non-continuous, abrupt, dissonant, conceptually associated with metal or wood, unhuman and robotic. Findings presented in this paper can be used as design guidelines for future applications in which the movement property fluidity is to be conveyed through sonification.
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| 5. |
- Frid, Emma, 1988-, et al.
(författare)
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Sound Forest - Evaluation of an Accessible Multisensory Music Installation
- 2019
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Ingår i: Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems. - New York, NY, USA : ACM. - 9781450359702 ; , s. 1-12
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Konferensbidrag (refereegranskat)abstract
- Sound Forest is a music installation consisting of a room with light-emitting interactive strings, vibrating platforms and speakers, situated at the Swedish Museum of Performing Arts. In this paper we present an exploratory study focusing on evaluation of Sound Forest based on picture cards and interviews. Since Sound Forest should be accessible for everyone, regardless age or abilities, we invited children, teens and adults with physical and intellectual disabilities to take part in the evaluation. The main contribution of this work lies in its fndings suggesting that multisensory platforms such as Sound Forest, providing whole-body vibrations, can be used to provide visitors of diferent ages and abilities with similar associations to musical experiences. Interviews also revealed positive responses to haptic feedback in this context. Participants of diferent ages used diferent strategies and bodily modes of interaction in Sound Forest, with activities ranging from running to synchronized music-making and collaborative play.
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| 6. |
- Latupeirissa, Adrian Benigno, et al.
(författare)
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Sonic characteristics of robots in films
- 2019
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Ingår i: Proceedings of the 16th Sound and Music Computing Conference. - Malaga, Spain. ; , s. 1-6
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Konferensbidrag (refereegranskat)abstract
- Robots are increasingly becoming an integral part of our everyday life. Expectations on robots could be influenced by how robots are represented in science fiction films. We hypothesize that sonic interaction design for real-world robots may find inspiration from sound design of fictional robots. In this paper, we present an exploratory study focusing on sonic characteristics of robot sounds in films. We believe that findings from the current study could be of relevance for future robotic applications involving the communication of internal states through sounds, as well for sonification of expressive robot movements. Excerpts from five films were annotated and analysed using Long Time Average Spectrum (LTAS). As an overall observation, we found that robot sonic presence is highly related to the physical appearance of robots. Preliminary results show that most of the robots analysed in this study have “metallic” voice qualities, matching the material of their physical form. Characteristics of robot voices show significant differences compared to voices of human characters; fundamental frequency of robotic voices is either shifted to higher or lower values, and the voices span over a broader frequency band.
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| 7. |
- Panariello, Claudio, et al.
(författare)
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From vocal sketching to sound models by means of a sound-based musical transcription system
- 2019
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Ingår i: Proceedings of the Sound and Music Computing Conferences. - : CERN. ; , s. 167-173
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Konferensbidrag (refereegranskat)abstract
- This paper explores how notation developed for the representation of sound-based musical structures could be used for the transcription of vocal sketches representing expressive robot movements. A mime actor initially produced expressive movements which were translated to a humanoid robot. The same actor was then asked to illustrate these movements using vocal sketching. The vocal sketches were transcribed by two composers using sound-based notation. The same composers later synthesized new sonic sketches from the annotated data. Different transcriptions and synthesized versions of these were compared in order to investigate how the audible outcome changes for different transcriptions and synthesis routines. This method provides a palette of sound models suitable for the sonification of expressive body movements.
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