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Designing for New Generation Electronic Musical Instruments: Strategies to Improve Interaction, User Experience and Live Performance

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Designing for New Generation Electronic Musical Instruments: Strategies to Improve Interaction, User Experience and Live Performance DESIGNING FOR NEW GENERATION ELECTRONIC MUSICAL INSTRUMENTS: STRATEGIES TO IMPROVE INTERACTION, USER EXPERIENCE AND LIVE PERFORMANCE A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY ETHEM HÜRSU ÖKE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN INDUSTRIAL DESIGN AUGUST 2020 Approval of the thesis: DESIGNING FOR NEW GENERATION ELECTRONIC MUSICAL INSTRUMENTS: STRATEGIES TO IMPROVE INTERACTION, USER EXPERIENCE AND LIVE PERFORMANCE submitted by ETHEM HÜRSU ÖKE in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Industrial Design, Middle East Technical University by, Prof. Dr. Halil Kalıpçılar Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Gülay Hasdoğan Head of the Department, Industrial Design Prof. Dr. Owain Pedgley Supervisor, Dept. of Industrial Design, METU Prof. Dr. Bahar Şener-Pedgley Co-Supervisor, Dept. of Industrial Design, METU Examining Committee Members: Prof. Dr. Gülay Hasdoğan Dept. of Industrial Design, METU Prof. Dr. Owain Pedgley Dept. of Industrial Design, METU Assoc. Prof. Dr. Naz A.G.Z. Börekçi Dept. of Industrial Design, METU Assist. Prof. Dr. Tolga Yayalar Dept. of Music, Bilkent University Prof. Dr. Şebnem Timur Dept. of Industrial Design, ITU Date: 28.08.2020 I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Surname: Ethem Hürsu Öke Signature: iv ABSTRACT DESIGNING FOR NEW GENERATION ELECTRONIC MUSICAL INSTRUMENTS: STRATEGIES TO IMPROVE INTERACTION, USER EXPERIENCE AND LIVE PERFORMANCE Öke, Ethem Hürsu Doctor of Philosophy, Industrial Design Supervisor: Prof. Dr. Owain Francis Pedgley Co-Supervisor: Prof. Dr. Bahar Şener-Pedgley August 2020, 373 pages Since the turn of the 21st century, ground-breaking advancements in technology have led to the emergence of a completely new ‘species’ of electronic musical instrument. These instruments, which are heavily driven or dependant on technology, have been accompanied by an interdisciplinary movement in the field of musical instrument research and design, interconnecting music-making to disciplines including, but not limited to, industrial design, interaction design, user experience (UX) design, computer science, software engineering, electronic/computer engineering, mechanical engineering and materials engineering. Although all of these disciplines have staked a claim to the profession of electronic ‘instrument-making’, much of the output comprises prototypical research, technical innovation and invention rather than instruments that are clearly aimed at, designed for, or adopted by professional musicians. Notably absent from the field is user-centred research, aiming to uncover professional musicians’ needs, preferred interactions and desirable user experiences with electronic musical instruments. Furthermore, there exists a lack of theory concerning how electronic musical instruments should be designed so that the needs v and expectations of professional musicians in live performance situations can be fulfilled. This thesis seeks to address the lack of fundamental user understanding as well as bring forward guidelines and strategies for user-centred electronic musical instrument design. Following a review of the state of the art, a substantial field study based on a hybrid of repertory grid technique (RGT) and cross impact analysis (CIA) is reported. The study involved professional musicians offering expert commentary on the design, interaction and experiences of purposefully disparate electronic musical instrument exemplars. The principles of personal construct theory (PCT) formed the basis of data collection and processing, with the interconnection and prioritization of musicians’ constructs revealed qualitatively and quantitatively through CIA. The principal outcome of the thesis is a set of strategies for designers to consider – especially in the conceptual front-end of new product development – to achieve appreciated interaction and desirable user experiences from electronic musical instruments in the context of live performance. Keywords: electronic musical instrument design, musical interfaces, interactivity, design for interaction, user experience vi ÖZ YENİ NESİL ELEKTRONİK MÜZİK ENSTRÜMANLARI İÇİN TASARIM: ETKİLEŞİM, KULLANICI DENEYİMİ VE CANLI PERFORMANSI GELİŞTİRMEYE YÖNELİK STRATEJİLER Öke, Ethem Hürsu Doktora, Endüstri Ürünleri Tasarımı Tez Yöneticisi: Prof. Dr. Owain Francis Pedgley Ortak Tez Yöneticisi: Prof. Dr. Bahar Şener-Pedgley Ağustos 2020, 373 sayfa 21. yüzyıla girilirken, teknolojide çığır açan gelişmeler yeni bir elektronik müzik enstrümanı ‘tür’ünün ortaya çıkmasına neden olmuştur. Büyük ölçüde teknolojiye bağımlı ve teknolojiyle işleyen bu enstrümanlara, müzik enstrümanı tasarımı ve araştırmaları alanında disiplinlerarası bir oluşum da eşlik ederek; müziği, endüstriyel tasarım, etkileşim tasarımı, kullanıcı deneyimi tasarımı, bilgisayar bilimi, yazılım mühendisliği, elektronik/bilgisayar mühendisliği, makina mühendisliği ve malzeme mühendisliği gibi çok çeşitli alanları birbirine bağladı. Her ne kadar tüm bu disiplinler elektronik enstrüman yapımı mesleğini sahiplenmeye çalışmış olsalar da, alandaki üretim ve çıktıların büyük çoğunluğunu, açık bir biçimde profesyonel müzisyenleri hedefleyen, onlar için tasarlanmış ve onların benimseyeceği enstrümanlar yerine, prototipsel araştırma, teknik inovasyon ve buluşlar oluşturmaktadır. Alanda görülen en belirgin eksiklik, profesyonel müzisyenlerin elektronik müzik enstrümanlarına dair ihtiyaçlarını, tercih ettikleri etkileşimleri ve arzu edilen kullanıcı deneyimlerini ortaya çıkartmaya yönelik ‘kullanıcı odaklı’ araştırmalardır. Buna ek olarak, profesyonel müzisyenlerin canlı performans vii bağlamındaki ihtiyaç ve beklentilerinin karşılanması için elektronik müzik enstrümanlarının nasıl tasarlanmaları gerektiğine dair bir teorik bilgi eksiği de bulunmaktadır. Bu tez, bir yandan alandaki kullanıcı içgörüsü eksikliğini ele alırken, kullanıcı odaklı elektronik müzik enstrümanı tasarımı için stratejiler ve yönergeler önermeyi amaçlamaktadır. Güncel literatür taramasını takiben, Repertuar Çizelgesi Tekniği ve Çapraz Etki Analizi karma yöntemiyle yapılan zengin içerikli bir alan araştırması sunulmuştur. Çalışma, profesyonel müzisyenlerin, farklı özellikleri doğrultusunda seçilmiş yeni nesil elektronik müzik enstrümanı örnekleri üzerinden yaptıkları uzman yorumlarına dayanmaktadır. Kişisel Kurgu Teorisi’nin esasları veri toplama ve işleme sürecinin temelini oluşturmuş, müzisyenlerin kişisel kurgularının arabağlantılarının tespiti ve öncelleştirilmesi, Çapraz Etki Analizi ile nitel ve nicel olarak ortaya çıkartılmıştır. Bu tezin temel çıktısı; tasarımcıların, yeni ürün geliştirme süreçlerinin özellikle ilk/kavramsal tasarım aşamalarında değerlendirebilecekleri, canlı müzik performansı bağlamında, elektronik müzik enstrümanlarıyla, tercih edilen etkileşimler ve beklenen kullanıcı deneyimleri elde etmelerini sağlayacak bir dizi stratejidir. Anahtar Kelimeler: elektronik müzik enstrümanı tasarımı, müzikal arayüzler, etkileşim, etkileşim için tasarım, kullanıcı deneyimi viii in loving memory of Şehnaz; my grandmother and my best friend… ix ACKNOWLEDGMENTS First and foremost, I would like to express my deepest gratitude to my thesis supervisor Prof. Dr. Owain Pedgley for his endless support, inspiring guidance and wisdom. Through the years we have spent together, his mentorship has impacted many aspects of my life, well beyond the borders of design research. Without his guidance, encouragement and friendship, this thesis could not have been possible. I offer my heartfelt appreciation to my co-supervisor Prof. Dr. Bahar Şener-Pedgley; firstly, for very generously accepting to be a part of this journey by joining the supervisory team. Her immediate impact and invaluable contributions were very inspiring for me and I benefited from her knowledge, wisdom and friendship in more ways than I can express. I am sincerely indebted to the members of my thesis supervising committee, Prof. Dr. Çiğdem Erbuğ; for introducing me to RGT and for her insightful feedback, Assoc. Prof. Dr. Naz A.G.Z. Börekçi; for her encouragement and constructive criticism, and Assist. Prof. Dr. Tolga Yayalar; for his friendship, guidance and also for keeping our feet, concerning the music-related aspects of this thesis, firmly on the ground. am also thankful to the members of my thesis examining committee, Prof. Dr. Gülay Hasdoğan; for her invaluable feedback, constructive criticism and attention to detail, and Prof. Dr. Şebnem Timur; from whom have been learning many different things for a long time, for her invaluable suggestions and insightful comments. I would also like to acknowledge certain people who have touched my life way before I started working on this thesis; their positive influence on my journey without a doubt impacted this work in more ways than they would have thought… I express my sincere appreciation to my dear teachers, Maestro Faris Akarsu; for showing me the difference between a musician and a pianist; and helping me become the former rather than the latter, Prof. Dr. Nigan Bayazıt; for inspiring me to take my x first steps into becoming an academic, and guiding me through my graduate studies, and Oruç Çakmaklı;
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