Mechanisms of skill acquisition and the law of practice
The Soar papers (vol. 1)
Glove-TalkII: an adaptive gesture-to-formant interface
CHI '95 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems
Instruments, interactivity, and inevitability
NIME '02 Proceedings of the 2002 conference on New interfaces for musical expression
Contexts of collaborative musical experiences
NIME '03 Proceedings of the 2003 conference on New interfaces for musical expression
Digital instruments and players: part I --- efficiency and apprenticeship
NIME '04 Proceedings of the 2004 conference on New interfaces for musical expression
A Fast Data Structure for Disk-Based Audio Editing
Computer Music Journal
Using the touch screen as a controller for portable computer music instruments
NIME '06 Proceedings of the 2006 conference on New interfaces for musical expression
The T-Stick: from musical interface to musical instrument
NIME '07 Proceedings of the 7th international conference on New interfaces for musical expression
NIME '07 Proceedings of the 7th international conference on New interfaces for musical expression
The musical interface technology design space
Organised Sound
Sonify your face: facial expressions for sound generation
Proceedings of the international conference on Multimedia
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When learning a classical instrument, people often either take lessons in which an existing body of "technique" is delivered, evolved over generations of performers, or in some cases people will "teach themselves" by watching people play and listening to existing recordings. What does one do with a complex new digital instrument?In this paper I address this question drawing on my experience in learning several very different types of sophisticated instruments: the Glove Talk II real-time gesture-to-speech interface, the Digital Marionette controller for virtual 3D puppets, and pianos and keyboards. As the primary user of the first two systems, I have spent hundreds of hours with Digital Marionette and Glove-Talk II, and thousands of hours with pianos and keyboards (I continue to work as a professional musician). I will identify some of the underlying principles and approaches that I have observed during my learning and playing experience common to these instruments. While typical accounts of users learning new interfaces generally focus on reporting beginner's experiences, for various practical reasons, this is fundamentally different by focusing on the expert's learning experience.