315
Views
0
CrossRef citations to date
0
Altmetric
Articles

Simple mappings, expressive movement: a qualitative investigation into the end-user mapping design of experienced mid-air musicians

, &

References

  • Bin, S. Astrid, Nick Bryan-Kinns, and Andrew P. McPherson. 2016. “Skip the Pre-concert Demo: How Technical Familiarity and Musical Style Affect Audience Response.” Proceedings of New Interfaces for Musical Expression (NIME), 200–205, Brisbane, Australia.
  • Birringer, Johannes, and Michãšle Danjoux. 2009. “Wearable Performance.” Digital Creativity 20 (1–2): 95–113. doi:10.1080/14626260902868095.
  • Blackwell, Alan F. 2006. “The Reification of Metaphor as a Design Tool.” ACM Transactions on Computer-Human Interaction (TOCHI) 13 (4): 490–530. doi: 10.1145/1188816.1188820
  • Bødker, Susanne. 2015. “Third-Wave HCI, 10 Years Later—Participation and Sharing.” Interactions 22 (5): 24–31. doi:10.1145/2804405.
  • Brown, Dom, Chris Nash, and Tom Mitchell. 2017. “A User Experience Review of Music Interaction Evaluations.” Proceedings of New Interfaces for Musical Expression (NIME), Copenhagen, Denmark.
  • Brown, Dom, Chris Nash, and Tom Mitchell. 2018. “Understanding User-defined Mapping Design for Mid-air Musical Performance.” Proceedings of the 5th international conference on movement and computing (MOCO), ACM, Genoa, Italy.
  • Caramiaux, Baptiste, Jules Françoise, Norbert Schnell, and Frédéric Bevilacqua. 2014. “Mapping Through Listening.” Computer Music Journal 38 (3): 34–48. doi: 10.1162/COMJ_a_00255
  • Cienki, Alan, and Cornelia Müller. 2008. “Metaphor, Gesture, and Thought.” In The Cambridge Handbook of Metaphor and Thought, Chapter 5, edited by Raymond W. Gibbs Jr., 483–501. New York, NY: Cambridge University Press.
  • Collins, David. 2007. “Real-time Tracking of the Creative Music Composition Process.” Digital Creativity 18 (4): 239–256. doi: 10.1080/14626260701743234
  • Cox, Arnie. 2016. Music and Embodied Cognition. Bloomington, IN, USA: Indiana University Press.
  • Di Donato, Baladino. 2017. “MyoMapper.” http://www.balandinodidonato.com/myomapper/.
  • Dobrian, and Daniel Koppelman. 2006. “The ‘E’ in NIME: Musical Expression with New Computer Interfaces.” Proceedings of New Interfaces for Musical Expression (NIME), Paris, France.
  • Dourish, Paul. 2004. Where the Action is: The Foundations of Embodied Interaction. Cambridge, MA: MIT Press.
  • Eldridge, Alice, and Chris Kiefer. 2017. “The Self-Resonating Feedback Cello: Interfacing Gestural and Generative Processes in Improvised Performance.” Proceedings of New Interfaces for Musical Expression (NIME), 25–29, Aalborg University Copenhagen, Copenhagen, Denmark. http://sro.sussex.ac.uk/68252/.
  • Elliott, Robert, Constance T. Fischer, and David L. Rennie. 1999. “Evolving Guidelines for Publication of Qualitative Research Studies in Psychology and Related Fields.” British Journal of Clinical Psychology 38 (3): 215–229. doi: 10.1348/014466599162782
  • Fels, Sidney, Ashley Gadd, and Axel Mulder. 2002. “Mapping Transparency Through Metaphor: Towards More Expressive Musical Instruments.” Organised Sound 7 (2): 109–126. doi: 10.1017/S1355771802002042
  • Fiebrink, Rebecca, Daniel Trueman, N. Cameron Britt, Michelle Nagai, Konrad Kaczmarek, Michael Early, M. R. Daniel, Anne Hege, and Perry R. Cook. 2010. “Toward Understanding Human-Computer Interaction in Composing the Instrument.” Proceedings of the International Computer Music Conference (ICMC), New York, NY, USA.
  • Fiebrink, Rebecca, Dan Trueman, and Perry R. Cook. 2009. “A Meta-Instrument for Interactive, On-the-Fly Machine Learning.” Proceedings of New Interfaces for Musical Expression (NIME), 280–285, Pittsburgh, PA, USA.
  • Fischer, Gerhard, and Andreas Girgensohn. 1990. “End-user Modifiability in Design Environments.” Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 183–192, ACM, Seattle, WA, USA.
  • Françoise, Jules. 2013. “Gesture–sound Mapping by Demonstration in Interactive Music Systems.” Proceedings of the 21st ACM International Conference on Multimedia, 1051–1054, ACM, Barcelona, Spain.
  • Francoise, Jules. 2015. “Motion-Sound Mapping By Demonstration.” PhD, McGill University.
  • Gelineck, Steven, and Stefania Serafin. 2012. “Longitudinal Evaluation of the Integration of Digital Musical Instruments into Existing Compositional Work Processes.” Journal of New Music Research 41 (3): 259–276. doi: 10.1080/09298215.2012.697174
  • Glaser, Barney G., and L. Strauss Anselm. 1967. The Discovery of Grounded Theory: Strategies for Qualitative Research. Hawthorne, NY, USA: Aldine Publishing Company.
  • Goudeseune, Camille. 2002. “Interpolated Mappings for Musical Instruments.” Organised Sound 7 (2): 85–96. doi: 10.1017/S1355771802002029
  • Gurevich, Michael, and Jeffrey Treviño. 2007. “Expression and its Discontents: Toward an Ecology of Musical Creation.” Proceedings of New Interfaces for Musical Expression (NIME), 106–111, ACM, New York, NY, USA.
  • Harrison, Jacob, and Andrew McPherson. 2017. “An Adapted Bass Guitar for One-handed Playing.” Proceedings of New Interfaces for Musical Expression (NIME), 507–508, Aalborg University Copenhagen, Copenhagen, Denmark. http://www.nime.org/proceedings/2017/nime2017_paper0102.pdf.
  • Hofmann, Alex, Bernt Isak Waerstad, Saranya Balasubramanian, and Kristoffer E. Koch. 2017. “From Interface Design to the Software Instrument - Mapping as an Approach to FX-Instrument Building.” Proceedings of New Interfaces for Musical Expression (NIME), 133–138, Aalborg University Copenhagen, Copenhagen, Denmark.
  • Hunt, Andy, and Ross Kirk. 2000. “Mapping Strategies for Musical Performance.” Trends in Gestural Control of Music 21: 231–258.
  • Hunt, Andy, Marcelo M Wanderley, and Matthew Paradis. 2003. “The Importance of Parameter Mapping in Electronic Instrument Design.” Journal of New Music Research 32 (4): 429–440. doi: 10.1076/jnmr.32.4.429.18853
  • Jaasma, Philemonne, Dorothé Smit, Jelle van Dijk, Thomas Latcham, Ambra Trotto, and Caroline Hummels. 2017. “The Blue Studio: Designing an Interactive Environment for Embodied Multi-stakeholder Ideation Processes.” Proceedings of the eleventh international conference on tangible, embedded, and embodied interaction, 1–10, TEI ‘17, ACM, New York, NY, USA. doi:10.1145/3024969.3025002.
  • Jack, Robert H., Tony Stockman, and Andrew McPherson. 2017. “Rich Gesture, Reduced Control: The Influence of Constrained Mappings on Performance Technique.” Proceedings of the 4th international conference on movement computing, ACM, London, UK.
  • Johnson, Mark, and Steve Larson. 2003. “‘Something in the Way She Moves’ – Metaphors of Musical Motion.” Metaphor and Symbol 18 (2): 63–84. doi: 10.1207/S15327868MS1802_1
  • Johnston, Andrew. 2009. “Interfaces for Musical Expression Based on Simulated Physical Models.” PhD Thesis, University of Technology, Sydney.
  • Kaye, Joseph Nathaniel. 2009. “The Epistemology & Evaluation of Experience-Focused Hci.” PhD Thesis, Cornell University.
  • Kiefer, Chris, Nick Collins, and Geraldine Fitzpatrick. 2008. “HCI Methodology For Evaluating Musical Controllers: A Case Study.” Proceedings of New Interfaces for Musical Expression (NIME), 87–90, Genova, Italy.
  • Klipfel, Kristofer. 2017. “MIDI Motion: Interactive Music Composition Gloves.” Proceedings of the eleventh international conference on tangible, embedded, and embodied interaction, 757–760, TEI ‘17, ACM, New York, NY, USA. doi:10.1145/3024969.3035535.
  • Kuutti, Kari, and Liam J Bannon. 2014. “The Turn to Practice in HCI: Towards a Research Agenda.” Proceedings of the 32nd annual ACM conference on human factors in computing systems, 3543–3552, ACM, Toronto, ON, Canada.
  • Lakoff, George, and Mark Johnson. 1980. Metaphors We Live By. Chicago, IL: University of Chicago Press.
  • Leman, Marc. 2008. Embodied Music Cognition and Mediation Technology. Cambridge, MA, USA: MIT Press.
  • Lerdahl, Fred. 1988. “Tonal Pitch Space.” Music Perception: An Interdisciplinary Journal 5 (3): 315–349. doi: 10.2307/40285402
  • Mackenzie, I. Scott. 2013. Human Computer Interaction: An Empirical Research Perspective. Edited by Meg Dunkerley and Heather Scherer. Waltham, MA, USA: Morgan Kaufmann.
  • Mainsbridge, Mary. 2018. “Gesture-Controlled Musical Performance: From Movement Awareness to Mastery.” International Journal of Performance Arts and Digital Media 14 (1): 1–18. doi: 10.1080/14794713.2017.1419801
  • Malloch, Joseph, Stephen Sinclair, and Marcelo M. Wanderley. 2007. “From Controller to Sound: Tools for Collaborative Development of Digital Musical Instruments.” Proceedings of the International Computer Music Conference (ICMC). Copenhagen, Denmark.
  • McPherson, Andrew P., Adrian Gierakowski, and Adam M. Stark. 2013. “The Space between the Notes: Adding Expressive Pitch Control to the Piano Keyboard.” Proceedings of the SIGCHI conference on human factors in computing systems, 2195–2204, ACM, Paris, France.
  • McPherson, Andrew P., Robert H. Jack, and Giulio Moro. 2016. “Action-Sound Latency: Are Our Tools Fast Enough?” Proceedings of New Interfaces for Musical Expression (NIME), Griffith University, Brisbane, Australia.
  • McPherson, Andrew P., and Youngmoo E. Kim. 2012. “The Problem of the Second Performer: Building a Community Around an Augmented Piano.” Computer Music Journal 36 (4): 10–27. doi: 10.1162/COMJ_a_00149
  • Merleau-Ponty, Maurice. 2013. Phenomenology of Perception. Abingdon: Routledge.
  • Mitchell, Thomas, and Imogen Heap. 2011. “SoundGrasp: A Gestural Interface for the Performance of Live Music.” Proceedings of New Interfaces for Musical Expression (NIME), Oslo, Norway.
  • Mitchell, T. J., S. Madgwick, and I. Heap. 2012. “Musical Interaction with Hand Posture and Orientation: A Toolbox of Gestural Control Mechanisms.” Proceedings of New Interfaces for Musical Expression (NIME), Ann Arbor, MI, USA.
  • Momeni, Ali, and Cyrille Henry. 2006. “Dynamic Independent Mapping Layers for Concurrent Control of Audio and Video Synthesis.” Computer Music Journal 30 (1): 49–66. doi: 10.1162/comj.2006.30.1.49
  • Morreale, Fabio, Antonella De Angeli, and Sile O’Modhrain. 2014. “Musical Interface Design: An Experience-Oriented Framework.” Proceedings of New Interfaces for Musical Expression (NIME), 467–472, London, UK.
  • Nielsen, Jakob. 1994. “Heuristic Evaluation.” Usability Inspection Methods 17 (1): 25–62.
  • Otondo, Felipe. 2018. “Using Mobile Sound to Explore Spatial Relationships between Dance and Music Performance.” Digital Creativity 1: 1–14. doi:10.1080/14626268.2018.1459731.
  • Paine, Garth, Ian Stevenson, and Angela Pearce. 2007. “The Thummer Mapping Project (ThuMP).” Proceedings of New Interfaces for Musical Expression (NIME), 70–77. ACM, New York, NY, USA.
  • Pallasmaa, Juhani. 2017. “Embodied and Existential Wisdom in Architecture: The Thinking Hand.” Body & Society 23 (1): 96–111. doi: 10.1177/1357034X16681443
  • Rovan, Joseph Butch, Marcelo M Wanderley, Shlomo Dubnov, and Philippe Depalle. 1997. “Instrumental Gestural Mapping Strategies as Expressivity Determinants in Computer Music Performance.” Proceedings of Kansei - the technology of emotion workshop, 3–4, Genoa, Italy.
  • Scurto, Hugo, Frédéric Bevilacqua, and Jules Françoise. 2017. “Shaping and Exploring Interactive Motion-Sound Mappings Using Online Clustering Techniques.” Proceedings of New Interfaces for Musical Expression (NIME), 410–415, Aalborg University Copenhagen, Copenhagen, Denmark.
  • Tahiroglu, Koray, Juan Carlos Vasquez, and Johan Kildal. 2016. “Non-Intrusive Counter-Actions: Maintaining Progressively Engaging Interactions for Music Performance.” Proceedings of New Interfaces for Musical Expression (NIME), 444–449, Brisbane, Australia.
  • Taruskin, Richard. 1995. Text and Act: Essays on Music and Performance. New York, NY: Oxford University Press.
  • van Dijk, Jelle, and Caroline Hummels. 2017. “Designing for Embodied Being-in-the-World: Two Cases, Seven Principles and One Framework.” Proceedings of the eleventh international conference on tangible, embedded, and embodied interaction, 47–56, TEI ‘17, ACM, New York, NY, USA. doi:10.1145/3024969.3025007.
  • Van Nort, Doug. 2018. “Conducting the in-between: Improvisation and Intersubjective Engagement in Soundpainted Electro-Acoustic Ensemble Performance.” Digital Creativity 29 (1): 68–81. doi:10.1080/14626268.2018.1423997.
  • Visi, Federico, Baptiste Caramiaux, Michael Mcloughlin, and Eduardo Miranda. 2017. “A Knowledge-based, Data-driven Method for Action-sound Mapping.” Proceedings of New Interfaces for Musical Expression (NIME), 231–236, Aalborg University Copenhagen, Copenhagen, Denmark.
  • Wanderley, Marcelo Mortensen, and Nicola Orio. 2002. “Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI.” Computer Music Journal 26 (3): 62–76. doi: 10.1162/014892602320582981
  • Wessel, David, and Matthew Wright. 2002. “Problems and Prospects for Intimate Musical Control of Computers.” Computer Music Journal 26 (3): 11–22. doi: 10.1162/014892602320582945
  • Wilkie, Katie, Simon Holland, and Paul Mulholland. 2010. “What Can the Language of Musicians Tell Us about Music Interaction Design?” Computer Music Journal 34 (4): 34–48. doi: 10.1162/COMJ_a_00024
  • Wilson, Frank R. 1998. The Hand: How Its Use Shapes the Brain, Language, and Human Culture. New York: Pantheon Books.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.