| 1. |
- Bresin, Roberto, 1963-, et al.
(author)
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Sonification of the self vs. sonification of the other : Differences in the sonification of performed vs. observed simple hand movements
- 2020
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In: International journal of human-computer studies. - : Elsevier BV. - 1071-5819 .- 1095-9300. ; 144
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Journal article (peer-reviewed)abstract
- Existing works on interactive sonification of movements, i.e., the translation of human movement qualities from the physical to the auditory domain, usually adopt a predetermined approach: the way in which movement features modulate the characteristics of sound is fixed. In our work we want to go one step further and demonstrate that the user role can influence the tuning of the mapping between movement cues and sound parameters. Here, we aim to verify if and how the mapping changes when the user is either the performer or the observer of a series of body movements (tracing a square or an infinite shape with the hand in the air). We asked participants to tune movement sonification while they were directly performing the sonified movement vs. while watching another person performing the movement and listening to its sonification. Results show that the tuning of the sonification chosen by participants is influenced by three variables: role of the user (performer vs observer), movement quality (the amount of Smoothness and Directness in the movement), and physical parameters of the movements (velocity and acceleration). Performers focused more on the quality of their movement, while observers focused more on the sonic rendering, making it more expressive and more connected to low-level physical features.
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| 2. |
- Falkenberg, Kjetil, Docent, 1972-, et al.
(author)
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Creating digital musical instruments with and for children: Including vocal sketching as a method for engaging in codesign
- 2020
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In: Human Technology. - : Centre of Sociological Research, NGO. - 1795-6889. ; 16:3, s. 348-371
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Journal article (peer-reviewed)abstract
- A class of master of science students and a group of preschool children codesigned new digital musical instruments based on workshop interviews involving vocal sketching, a method for imitating and portraying sounds. The aim of the study was to explore how the students and children would approach vocal sketching as one of several design methods. The children described musical instruments to the students using vocal sketching and other modalities (verbal, drawing, gestures). The resulting instruments built by the students were showcased at the Swedish Museum of Performing Arts in Stockholm. Although all the children tried vocal sketching during preparatory tasks, few employed the method during the workshop. However, the instruments seemed to meet the children’s expectations. Consequently, even though the vocal sketching method alone provided few design directives in the given context, we suggest that vocal sketching, under favorable circumstances, can be an engaging component that complements other modalities in codesign involving children.
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| 3. |
- Frid, Emma, 1988-
(author)
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Erratum : Accessible digital musical instruments—a review of musical interfaces in inclusive music practice (Multimodal Technologies and Interaction, (2019) 3, 57, 10.3390/mti3030057)
- 2020
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In: Multimodal Technologies and Interaction. - : MDPI AG. - 2414-4088. ; 4:3, s. 1-2
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Journal article (peer-reviewed)abstract
- Unfortunately, some errors and imprecise descriptions were made in the final proofreading phase, and the author, therefore, wishes to make the following corrections to this paper [1]: In the Abstract, it is erroneously stated that the percentage of ADMIs that incorporated vibrotactile feedback was 15.6%. The correct percentage should be 14.5%. The same error is replicated in Section 4.4. Output Modalities, on page 11 (13 ADMIs should be 12 ADMIs), and in Section 6. Conclusions, on page 15. The author would like to apologize for any inconvenience caused by these changes. The correct percentage further supports the claim that relatively few of the ADMIs incorporated vibrotactile feedback. Based on guidelines for writing for accessibility [2], the author would like to refrain from using the term “elderly” and instead use the term “older adults” in Sections 4.5 Target User Group (page 11), 5. Discussion (page 13), and Conclusions (page 15). Minor formatting errors were identified in Figure 4, on page 9, where the terms “touchscreen” and “touchless” were mistakenly spelled “touch-screen” and “touch-less”. In Table 2, “Book Sections” should be “Book Chapters”. There were also two errors in Table 3, where “Eyes-web” should be spelled “EyesWeb” and the word “sensor” was misspelled as “senor”. The figure and table were updated to account for these mistakes.
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| 4. |
- Frid, Emma, 1988-, et al.
(author)
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Haptic Music : Exploring Whole-Body Vibrations and Tactile Sound for a Multisensory Music Installation
- 2020
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In: Proceedings of the Sound and Music Computing Conference (SMC) 2020. - Torino, Italy. ; , s. 68-75
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Conference paper (peer-reviewed)abstract
- This paper presents a study on the composition of haptic music for a multisensory installation and how composers could be aided by a preparatory workshop focusing on the perception of whole-body vibrations prior to such a composition task. Five students from a Master’s program in Music Production were asked to create haptic music for the installation Sound Forest. The students were exposed to a set of different sounds producing whole-body vibrations through a wooden platform and asked to describe perceived sensations for respective sound. Results suggested that the workshop helped the composers successfully complete the composition task and that awareness of haptic possibilities of the multisensory installation could be improved through training. Moreover, the sounds used as stimuli provided a relatively wide range of perceived sensations, ranging from pleasant to unpleasant. Considerable intra-subject differences motivate future large-scale studies on the perception of whole-body vibrations in artistic music practice.
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| 5. |
- Frid, Emma, 1988-, et al.
(author)
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Music Creation by Example
- 2020
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In: Proceedings CHI '20: CHI Conference on Human Factors in Computing Systems. - New York, NY, USA : Association for Computing Machinery (ACM). ; , s. 1-13
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Conference paper (peer-reviewed)abstract
- Short online videos have become the dominating media on social platforms. However, finding suitable music to accompany videos can be a challenging task to some video creators, due to copyright constraints, limitations in search engines, and required audio-editing expertise. One possible solution to these problems is to use AI music generation. In this paper we present a user interface (UI) paradigm that allows users to input a song to an AI engine and then interactively regenerate and mix AI-generated music. To arrive at this design, we conducted user studies with a total of 104 video creators at several stages of our design and development process. User studies supported the effectiveness of our approach and provided valuable insights about human-AI interaction as well as the design and evaluation of mixedinitiative interfaces in creative practice.
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| 6. |
- Hansen, Kjetil Falkenberg, et al.
(author)
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Unproved methods from the frontier in the course curriculum : A bidirectional and mutually beneficial research challenge
- 2020
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In: INTED2020 Proceedings. - : IATED. - 9788409179398 ; , s. 7033-7038
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Conference paper (peer-reviewed)abstract
- In this paper, we report the experiences of students and teachers in a master course in Musical Communication and Music Technology at KTH Royal Institute of Technology. The students were exposed to vocal sketching [1], a novel sound design method, both as their course material and for the examination. The results in terms of learning outcome and course experience were confirmed and more than convincing, while the results in terms of validating the efficacy of the method were meagre.As part of our research, we designed an experiment where the students first interviewed preschool children who were asked to describe a fantasy musical instrument and then built it. The course schedule included lectures on voice sketching, sound synthesis, sound quality, new musical instruments, parameter mapping, and music programming. The project work and idea was presented during the first lecture, eight weeks before meeting the children. The interview took place in a workshop at the Swedish Museum for Performing Arts who had an exhibition of new musical instruments. Student/child pairs visited the exhibition in order to 1) familiarize themselves, 2) establish communication, and 3) get a common point of reference in terms of the exhibited instruments. After this process, the pairs completed an interview session inspired by [2]. The parents and teacher could join in if desired. The students got two weeks to build the instruments and present these at the museum. The purpose was not to evaluate the instruments, but to explore the vocal sketch method. The design and building phase was a prototyping task which the students were comfortable with. All design decisions needed to be set in relation to the course literature. All the presented projects followed a scenario- and contextual-inspired design approach [3] where a target solution needed to be established quickly grounded on a basic understanding of the agent (the child), its goals, and its presumed actions [4], and where the child mainly acted as informant [5]. While all the children could voice sketch, few actually did so in the interview. Despite this, the finished instruments matched the expectations of the children, and the course work satisfied the intended learning outcomes. As a research outcome, we suggest that future studies should include training vocal sketch techniques to produce suitable sounds. As for the pedagogical outcome, we are convinced from both the high quality of the works and the unusually positive course evaluations compared to previous years that the unproved research method was appropriate as course material. The bidirectional challenge in the research where students know that the method is experimental is hypothesized to further boost student motivation.
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