Springer Series on Cultural Computing Simon Holland Katie Wilkie Paul Mulholland Allan Seago Editors Music and Human- Computer Interaction Music and Human-Computer Interaction Springer Series on Cultural Computing Editor-in-chief ErnestEdmonds UniversityofTechnologySydney,Australia Editorialboard FriederNake UniversityofBremen,Germany NickBryan-Kinns QueenMary,UniversityofLondon,UK LindaCandy UniversityofTechnologySydney,Australia DavidEngland LiverpoolJohnMooresUniversity,UK AndrewHugill DeMontfortUniversity,UK ShigekiAmitani AdobeSystemsInc.Tokyo,Japan DougRiecken ColumbiaUniversity,NY,USA Forfurthervolumes: http://www.springer.com/series/10481 Simon Holland • Katie Wilkie (cid:129) Paul Mulholland Allan Seago Editors Music and Human-Computer Interaction 123 Editors Dr.SimonHolland KatieWilkie MusicComputingLab MusicComputingLab CentreforResearchInComputing CentreforResearchInComputing TheOpenUniversity TheOpenUniversity MiltonKeynes,UK MiltonKeynes,UK Dr.PaulMulholland Dr.AllanSeago MusicComputingLab SirJohnCassFacultyofArt,Architecture CentreforResearchInComputing andDesign TheOpenUniversity LondonMetropolitanUniversity MiltonKeynes,UK London,UK ISSN2195-9056 ISBN978-1-4471-2989-9 ISBN978-1-4471-2990-5(eBook) DOI10.1007/978-1-4471-2990-5 SpringerLondonHeidelbergNewYorkDordrecht LibraryofCongressControlNumber:2013933708 ©Springer-VerlagLondon2013 Thisworkissubjecttocopyright.AllrightsarereservedbythePublisher,whetherthewholeorpartof thematerialisconcerned,specificallytherightsoftranslation,reprinting,reuseofillustrations,recitation, broadcasting,reproductiononmicrofilmsorinanyotherphysicalway,andtransmissionorinformation storageandretrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodology nowknownorhereafterdeveloped.Exemptedfromthislegalreservationarebriefexcerptsinconnection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’slocation,initscurrentversion,andpermissionforusemustalwaysbeobtainedfromSpringer. PermissionsforusemaybeobtainedthroughRightsLinkattheCopyrightClearanceCenter.Violations areliabletoprosecutionundertherespectiveCopyrightLaw. Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthispublication doesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesareexemptfromtherelevant protectivelawsandregulationsandthereforefreeforgeneraluse. While the advice and information in this book are believed to be true and accurate at the date of publication,neithertheauthorsnortheeditorsnorthepublishercanacceptanylegalresponsibilityfor anyerrorsoromissionsthatmaybemade.Thepublishermakesnowarranty,expressorimplied,with respecttothematerialcontainedherein. Printedonacid-freepaper SpringerispartofSpringerScience+BusinessMedia(www.springer.com) Contents 1 Music Interaction: Understanding Music andHuman-ComputerInteraction....................................... 1 SimonHolland, KatieWilkie, PaulMulholland, andAllanSeago 2 ShouldMusicInteractionBeEasy? ...................................... 29 JamesMcDermott, TobyGifford, AndersBouwer, andMarkWagy 3 AmateurMusicians,Long-TermEngagement,andHCI............... 49 IsaacWallis, ToddIngalls, EllenCampana, andCatherineVuong 4 Affective Musical Interaction: Influencing Users’ BehaviourandExperienceswithMusic.................................. 67 AnnaBramwell-Dicks,HelenPetrie,AlistairD.N.Edwards, andChristopherPower 5 ChasingaFeeling:ExperienceinComputerSupportedJamming.... 85 BenSwift 6 The HapticBracelets:LearningMulti-Limb Rhythm SkillsfromHapticStimuliWhileReading............................... 101 AndersBouwer,SimonHolland,andMatDalgleish 7 PianoTechniqueasaCaseStudyinExpressive GesturalInteraction........................................................ 123 AndrewP.McPhersonandYoungmooE.Kim 8 LiveMusic-Making:ARichOpenTaskRequiresaRich OpenInterface.............................................................. 139 DanStowellandAlexMcLean 9 ANewInteractionStrategyforMusicalTimbreDesign............... 153 AllanSeago v vi Contents 10 Pulsed Melodic Processing – The Use of Melodies inAffectiveComputationsforIncreasedProcessing Transparency................................................................ 171 AlexisKirkeandEduardoMiranda 11 ComputerMusicking: HCI,CSCWandCollaborative DigitalMusicalInteraction................................................ 189 RobinFencottandNickBryan-Kinns 12 SongWalkerHarmonySpace:Embodied Interaction DesignforComplexMusicalSkills ....................................... 207 AndersBouwer,SimonHolland,andMatDalgleish 13 Evolutionaryand GenerativeMusic Informs Music HCI—AndViceVersa ...................................................... 223 JamesMcDermott,DylanSherry,andUna-MayO’Reilly 14 VideoAnalysisforEvaluatingMusicInteraction: MusicalTabletops .......................................................... 241 AnnaXambo´,RobinLaney,ChrisDobbyn,andSergiJorda` 15 TowardsaParticipatoryApproachforInteractionDesign BasedonConceptualMetaphorTheory:ACaseStudy fromMusicInteraction .................................................... 259 KatieWilkie,SimonHolland,andPaulMulholland 16 Appropriate and Complementary Rhythmic ImprovisationinanInteractiveMusicSystem.......................... 271 TobyGifford Index............................................................................... 287 Contributors Anders Bouwer Intelligent Systems Lab Amsterdam (ISLA), Informatics Insti- tute,FacultyofScience,UniversityofAmsterdam,Amsterdam,TheNetherlands Anna Bramwell-Dicks Department of Computer Science, University of York, York,UK NickBryan-Kinns QueenMaryUniversityofLondon,London,UK EllenCampana SchoolofArts,Media,andEngineering,ArizonaStateUniversity, Tempe,AZ,USA MatDalgleish DepartmentofMusic,SSPAL,UniversityofWolverhampton,West Midlands,UK Chris Dobbyn Music Computing Lab, Centre for Research in Computing, The OpenUniversity,MiltonKeynes,UK Alistair D.N. Edwards Department of Computer Science, University of York, York,UK RobinFencott QueenMaryUniversityofLondon,London,UK TobyGifford QueenslandConservatoriumofMusic,GriffithUniversity,Brisbane, Australia Simon Holland Music Computing Lab, Centre for Research in Computing, The OpenUniversity,MiltonKeynes,UK Todd Ingalls School of Arts, Media, and Engineering, Arizona State University, Tempe,AZ,USA Sergi Jorda` Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain Youngmoo E. Kim Music EntertainmentTechnologyLaboratory,Departmentof ElectricalandComputerEngineering,DrexelUniversity,Philadelphia,PA,USA vii viii Contributors Alexis Kirke Interdisciplinary Centre for Computer Music Research, School of Humanities,MusicandPerformingArts,PlymouthUniversity,Plymouth,UK Robin Laney Music Computing Lab, Centre for Research in Computing, The OpenUniversity,MiltonKeynes,UK James McDermott Evolutionary Design and Optimization Group, Computer ScienceandArtificialIntelligenceLaboratory,MassachusettsInstituteofTechnol- ogy,Cambridge,MA,USA AlexMcLean InterdisciplinaryCentreforScientificResearchinMusic,University ofLeeds,Leeds,UK AndrewP.McPherson CentreforDigitalMusic,SchoolofElectronicEngineer- ingandComputerScience,QueenMary,UniversityofLondon,London,UK EduardoMiranda InterdisciplinaryCentreforComputerMusicResearch,School ofHumanities,MusicandPerformingArts,PlymouthUniversity,Plymouth,UK PaulMulholland MusicComputingLab,CentreforResearchinComputing,The OpenUniversity,MiltonKeynes,UK Una-MayO’Reilly EvoDesignOptGroup,CSAIL,MIT,Cambridge,MA,USA HelenPetrie DepartmentofComputerScience,UniversityofYork,York,UK Christopher Power DepartmentofComputerScience,Universityof York,York, UK Allan Seago Sir John Cass Faculty of Art, Architecture and Design, London MetropolitanUniversity,London,UK DylanSherry EvoDesignOptGroup,CSAIL,MIT,Cambridge,MA,USA DanStowell CentreforDigitalMusic,QueenMaryUniversityofLondon,London, UK BenSwift ResearchSchoolofComputerScience,AustralianNationalUniversity, Canberra,Australia CatherineVuong SchoolofBiologicalandHealthSystemsEngineering,Arizona StateUniversity,Tempe,AZ,USA Mark Wagy Department of Computer Science and Engineering, University of Minnesota,Minneapolis,MN,USA Isaac Wallis School of Arts, Media, and Engineering, Arizona State University, Tempe,AZ,USA KatieWilkie MusicComputingLab,CentreforResearchinComputing,TheOpen University,MiltonKeynes,UK Anna Xambo´ Music Computing Lab, Centre for Research in Computing, The OpenUniversity,MiltonKeynes,UK Chapter 1 Music Interaction: Understanding Music and Human-Computer Interaction SimonHolland,KatieWilkie,PaulMulholland,andAllanSeago Abstract Weintroduce,reviewandanalyserecentresearchinMusicandHuman- Computer Interaction (HCI), also known as Music Interaction. After a general overview of the discipline, we analyse the themes and issues raised by the other 15 chaptersof this book, each of which presents recentresearch in this field. The bulk of thischapter is organisedas an FAQ. Topics include:the scope of research in Music Interaction; the role of HCI in Music Interaction; and conversely, the role of Music Interaction in HCI. High-levelthemes include embodied cognition, spatialcognition,evolutionaryinteraction,gesture,formallanguage,affectiveinter- action, and methodologiesfrom social science. Musical activities coveredinclude performance, composition, analysis, collaborative music making, and human and machine improvisation.Specific issues include:whether Music Interactionshould beeasy;whatcanbelearnedfromtheexperienceofbeing“inthegroove”,andwhat canbelearnedfromthecommitmentofmusicalamateurs.Broaderissuesinclude: whatMusicInteractioncanoffertraditionalinstrumentsandmusicalactivities;what relevance it has for domains unconnected with music; and ways in which Music Interactioncanenableentirelynewmusicalactivities. S.Holland((cid:2))(cid:129)K.Wilkie(cid:129)P.Mulholland MusicComputingLab,CentreforResearchinComputing,TheOpenUniversity, MiltonKeynesMK76AA,UK e-mail:[email protected];[email protected];[email protected] A.Seago SirJohnCassFacultyofArt,ArchitectureandDesign,LondonMetropolitanUniversity, London,UK e-mail:[email protected] S.Hollandetal.(eds.),MusicandHuman-ComputerInteraction,Springer 1 SeriesonCulturalComputing,DOI10.1007/978-1-4471-2990-5 1, ©Springer-VerlagLondon2013