Stefano Papetti · Charalampos Saitis Editors Musical Haptics Springer Series on Touch and Haptic Systems
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Springer Series on Touch and Haptic Systems Stefano Papetti · Charalampos Saitis Editors Musical Haptics Springer Series on Touch and Haptic Systems Series editors Manuel Ferre Marc O. Ernst Alan Wing Series Editorial Board Carlo A. Avizzano José M. Azorín Soledad Ballesteros Massimo Bergamasco Antonio Bicchi Martin Buss Jan van Erp Matthias Harders William S. Harwin Vincent Hayward Juan M. Ibarra Astrid M. L. Kappers Abderrahmane Kheddar Miguel A. Otaduy Angelika Peer Jerome Perret Jean-Louis Thonnard More information about this series at http://www.springer.com/series/8786 Stefano Papetti • Charalampos Saitis Editors Musical Haptics Editors Stefano Papetti Charalampos Saitis ICST—Institute for Computer Music Audio Communication Group and Sound Technology Technische Universität Berlin Zürcher Hochschule der Künste Berlin Zurich Germany Switzerland ISSN 2192-2977 ISSN 2192-2985 (electronic) Springer Series on Touch and Haptic Systems ISBN 978-3-319-58315-0 ISBN 978-3-319-58316-7 (eBook) https://doi.org/10.1007/978-3-319-58316-7 Library of Congress Control Number: 2018935220 © The Editor(s) (if applicable) and The Author(s) 2018. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adap- tation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publi- cation does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Printed on acid-free paper This Springer imprint is published by the registered company Springer International Publishing AG part of Springer Nature The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland To Pietro Cosmo, who was born at the same time as the conception of this book. Stefano Papetti To my parents. Charalampos Saitis Series Editors’ Foreword This is the 15th volume of ‘Springer Series on Touch and Haptic Systems’, which is published as a collaboration between Springer and the EuroHaptics Society. Musical Haptics explores haptic interaction during the auditory experience of music and the combination of auditory and haptic information during instrumental performance. Auditory and haptic channels receive vibrations during instrument performance. This multimodal interaction is analysed from the points of view of both the audience and the musicians. Organized into two parts and 13 chapters, the first part is devoted to the fun- damentals of haptic interaction and perception of musical cues and part two shows examples in haptic musical interfaces. A glossary of terms at the end that explicitly defines specific terminology is also included. A successful workshop on Musical Haptics at the EuroHaptics 2016 conference in London led to the writing of this book. The editors have created an excellent compilation of the work introduced during the workshop and added new material to produce a cutting-edge volume. Moreover, this publication is the first open access issue in this Springer series which represents an eagerly anticipated development for our community. January 2018 Manuel Ferre Marc O. Ernst Alan Wing vii Preface The two fields of haptics and music are naturally connected in a number of ways. As a matter of fact, sound is nothing more than the auditory manifestation of vibration. When attending a concert, we are reached not only by airborne acoustic waves but also by related vibratory cues conveyed through the air and solid media such as the floor and seats. Moving from the audience to the performance stage, it is thanks to a complex system of auditory–haptic interactions established between musicians and their instruments that the former can render subtle expressive nuances and develop virtuosic playing techniques, and that being at a concert is such a rewarding experience. Whereas auditory research has since long addressed the musical scenario, research on haptics has only recently started to consider it. This volume aims to fill this gap by collecting for the first time state-of-the-art contributions from distin- guished scholars and young researchers working at the intersection of haptics and music performance. It presents theoretical, empirical, and practical aspects of haptic musical interaction and perception, such as the role of haptics in music performance and fruition, and describes the design and evaluation of digital musical interfaces that provide haptic feedback. The realization of this volume was originally encouraged by Prof. Manuel Ferre, following the successful organization of a scientific workshop on Musical Haptics by Stefano Papetti at the EuroHaptics 2016 conference. The workshop hosted some of the most renowned world experts in the field and fostered discussion, exchange, and collaboration to help address theoretical and empirical challenges in Musical Haptics research. It was, in a way, the crowning event of the project Audio-Haptic modalities in Musical Interfaces1 (2014–2016), an interdisciplinary research funded by the Swiss National Science Foundation, which initiated an exploratory investi- gation on the role of haptics and the sense of touch in music practice. 1 http://p3.snf.ch/project-150107 (last accessed on Nov 27, 2017). ix x Preface The present volume primarily features contributions from presenters at the EuroHaptics workshop. Additional authors were invited based on their established activities and recent outstanding results. Mirroring the implicitly interdisciplinary nature of Musical Haptics, contributions come from a variety of scientific back- grounds, such as music composition and performance, acoustics, mechanical engineering, robotics, sound and music computing, music perception, and cognitive neuroscience, thus bringing diverse viewpoints on a number of common topics. Following an introduction which sets out the scope, aims, and relevance of Musical Haptics, the volume comprises 12 contributed chapters divided into two parts. Part I examines the relevance of haptic cues in music performance and perception, discussing how they affect user experience and performance in terms of usability, functionality, and perceived quality of musical instruments. Part II pre- sents engineering, computational, and design approaches and guidelines that have been applied to render and exploit haptic feedback in digital musical interfaces. The two parts are distinct yet complementary: studying the perception of haptics requires sophisticated rendering techniques; developing sophisticated rendering techniques for haptics requires a good understanding of its psychophysics. To help the reader, a glossary is included that gathers in one place explanations of concepts and tools recurring throughout the book. Musical Haptics is intended for haptic engineers, researchers in human–com- puter interaction, music psychologists, interaction designers, musical instrument designers, and musicians who, for example, would like to gain insight into the haptic exchange between musicians and their instruments, its relevance for user experience, quality perception and musical performance, as well as practical guidelines for the use of haptic feedback in musical devices and other human– computer interfaces. It is hoped that the present volume will contribute towards a scientific foundation of haptic musical interfaces, even though not all aspects have been possible to take into account. We thank the Institute for Computer Music and Sound Technology (ICST) at the Zurich University of the Arts (ZHdK) for funding the publication of the present volume in Open Access form, along with the Alexander von Humboldt Foundation for supporting C.S. through a Humboldt Research Fellowship. We are especially grateful to ICST Director Germán Toro-Peréz for his continuous support, as well as to Federico Avanzini and Federico Fontana for their precious organizational advice. Finally, we would like to thank all the authors for their valuable contribution to this book. Zurich, Switzerland Stefano Papetti Berlin, Germany Charalampos Saitis December 2017 Contents 1 Musical Haptics: Introduction ............................. 1 Stefano Papetti and Charalampos Saitis Part I Musical Haptics: Interaction and Perception 2 Once More, with Feeling: Revisiting the Role of Touch in Performer-Instrument Interaction