Playing by feel: incorporating haptic feedback into computer-based musical instruments
Playing by feel: incorporating haptic feedback into computer-based musical instruments
OROBORO: a collaborative controller with interpersonal haptic feedback
NIME '05 Proceedings of the 2005 conference on New interfaces for musical expression
New Digital Musical Instruments: Control And Interaction Beyond the Keyboard (Computer Music and Digital Audio Series)
Embodied Music Cognition and Mediation Technology
Embodied Music Cognition and Mediation Technology
Vibracion Cajon: a drumming interface that awakes a shared sense of identity
ACE '08 Proceedings of the 2008 International Conference on Advances in Computer Entertainment Technology
Tactile motion instructions for physical activities
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Haptic Guidance Benefits Musical Motor Learning
HAPTICS '08 Proceedings of the 2008 Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems
PianoTouch: A wearable haptic piano instruction system for passive learning of piano skills
ISWC '08 Proceedings of the 2008 12th IEEE International Symposium on Wearable Computers
Buzzing to play: lessons learned from an in the wild study of real-time vibrotactile feedback
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
PossessedHand: techniques for controlling human hands using electrical muscles stimuli
Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
An investigation into the use of tactile instructions in snowboarding
MobileHCI '12 Proceedings of the 14th international conference on Human-computer interaction with mobile devices and services
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This paper introduces a tool known as the Haptic Drum Kit, which employs four computer-controlled vibrotactile devices, one attached to each wrist and ankle. In the applications discussed here, haptic pulses are used to guide the playing, on a drum kit, of rhythmic patterns that require multi-limb co-ordination. The immediate aim is to foster rhythm skills and multi-limb coordination. A broader aim is to systematically develop skills in recognizing, identifying, memorizing, retaining, analyzing, reproducing, and composing polyphonic rhythms. We consider the implications of three different theories for this approach: the work of the music educator Dalcroze (1865-1950 [1]; the entrainment theory of human rhythm perception and production [2,3]; and sensory motor contingency theory [4]. In this paper we report on a design study; and identify and discuss a variety of emerging design issues. The study demonstrates that beginning drummers are able to learn intricate drum patterns from haptic stimuli alone