The Haptic Bracelets: Learning Multi-Limb Rhythm Skills from Haptic Stimuli While Reading

Chapter
Part of the Springer Series on Cultural Computing book series (SSCC)

Abstract

The Haptic Bracelets are a system designed to help people learn multi-limbed rhythms (which involve multiple simultaneous rhythmic patterns) while they carry out other tasks. The Haptic Bracelets consist of vibrotactiles attached to each wrist and ankle, together with a computer system to control them. In this chapter, we report on an early empirical test of the capabilities of this system, and consider design implications. In the pre-test phase, participants were asked to play a series of multi-limb rhythms on a drum kit, guided by audio recordings. Participants’ performances in this phase provided a base reference for later comparisons. During the following passive learning phase, away from the drum kit, just two rhythms from the set were silently ‘played’ to each subject via vibrotactiles attached to wrists and ankles, while participants carried out a 30-min reading comprehension test. Different pairs of rhythms were chosen for different subjects to control for effects of rhythm complexity. In each case, the two rhythms were looped and alternated every few minutes. In the final phase, subjects were asked to play again at the drum kit the complete set of rhythms from the pre-test, including, of course, the two rhythms to which they had been passively exposed. Pending analysis of quantitative data focusing on accuracy, timing, number of attempts and number of errors, in this chapter we present preliminary findings based on participants’ subjective evaluations. Most participants thought that the technology helped them to understand rhythms and to play rhythms better, and preferred haptic to audio to find out which limb to play when. Most participants indicated that they would prefer using a combination of haptics and audio for learning rhythms to either modality on its own. Replies to open questions were analysed to identify design issues, and implications for design improvements were considered.

References

  1. Andresen, M. S., Bach, M., & Kristensen, K. R. (2010). The LapSlapper: Feel the beat. In Proceedings of HAID 2010, international conference on Haptic and Audio Interaction Design (pp. 160–168). Berlin, Heidelberg: Springer.Google Scholar
  2. Arom, S. (1991). African polyphony and polyrhythm, musical structure and methodology. England: Cambridge University Press. ISBN 052124160x.CrossRefGoogle Scholar
  3. Bird, J., Holland, S., Marshall, P., Rogers, Y., & Clark, A. (2008). Feel the force: Using tactile technologies to investigate the extended mind. In Proceedings of DAP 2008, workshop on devices that alter perception, 21 September 2008, Seoul, South Korea, pp 1–4.Google Scholar
  4. Brown, M. (2002). Conductive education and the use of rhythmical intention for people with Parkinson’s disease. In I. Kozma & E. Balogh (Eds.), Conductive education occasional papers, no. 8 (pp. 75–80). Budapest: International Peto Institute.Google Scholar
  5. Clayton, M., Sager, R., & Will, U. (2004). In time with the music: The concept of entrainment and its significance for ethnomusicology. ESEM CounterPoint, 1, 1–82.Google Scholar
  6. Collicutt, M., Casciato, C., & Wanderley, M. M. (2009). From real to virtual: A comparison of input devices for percussion tasks. In B. Dannenberg, & K. D. Ries (Eds.), Proceedings of NIME 2009, 4–6 June 2009, (pp. 1–6). Pittsburgh: Carnegie Mellon University.Google Scholar
  7. Feygin, D., Keehner, M., & Tendick, F. (2002). Haptic guidance: Experimental evaluation of a haptic training method for a perceptual motor skill. In Proceedings of Haptics 2002, the 10th International Symposium of Haptic Interfaces for Virtual Environment and Teleoperator Systems, March 24–25, 2002, Orlando, FL (pp. 40–47). New York: IEEE.Google Scholar
  8. Grindlay, G. (2008). Haptic guidance benefits musical motor learning. In: Proceedings of symposium on haptic interfaces for virtual environments and teleoperator systems 2008, March, Reno, Nevada, USA, 978-1-4244-2005-6/08, pp. 13–14.Google Scholar
  9. Gutcheon, J. (1978). Improvising rock piano. New York: Consolidated Music Publishers. ISBN 0-8256-4071-7.Google Scholar
  10. Holland, S., Bouwer, A. J., Dalgleish, M., & Hurtig, T. M. (2010). Feeling the beat where it counts: Fostering multi-limb rhythm skills with the haptic drum kit. In Proceedings of the 4th international conference on Tangible, Embedded, and Embodied Interaction (TEI’10), January 25–27, 2010, Cambridge, MA (pp. 21–28). New York: ACM, ISBN: 978-1-60558-841-4.Google Scholar
  11. Huang, K., Do, E. Y., & Starner, T. (2008). PianoTouch: A wearable haptic piano instruction system for passive learning of piano skills. In Proceedings of ISWC 2008, the 12th IEEE International Symposium on Wearable Computers, September 28–October 1, 2008, Pittsburgh, PA (pp. 41–44).Google Scholar
  12. Huang, K., Starner, T., Do, E., Weiberg, G., Kohlsdorf, D., Ahlrichs, C., & Leibrandt, R. (2010). Mobile music touch: Mobile tactile stimulation for passive learning. In Proceedings of the 28th international conference on human factors in computing systems (CHI ’10) (pp. 791–800). New York: ACM.Google Scholar
  13. Juntunen, M. L. (2004). Embodiment in Dalcroze Eurhythmics. PhD thesis, University of Oulu, Finland.Google Scholar
  14. Kressig, R. W., Allali, G., & Beauchet, O. (2005). Long-term practice of Jaques-Dalcroze eurhythmics prevents age-related increase of gait variability under a dual task. Letter to Journal of the American Geriatrics Society, April 2005, 53(4), 728–729.CrossRefGoogle Scholar
  15. Lerdahl, F., & Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.Google Scholar
  16. Lewiston, C. (2008). MaGKeyS: A haptic guidance keyboard system for facilitating sensorimotor training and rehabilitation. PhD thesis, MIT Media Laboratory, Massachusetts.Google Scholar
  17. McNulty, J. K. (2009). Polyrhythm hero: A multimodal polyrhythm training game for mobile phones. Unpublished, Retrieved on 6 May 2012, from the word-wide web at http://robotmouth.com/papers_files/Polyrhythm_Hero.pdf
  18. Miranda, E. R., & Wanderley, M. (2006). New digital musical instruments: Control and interaction beyond the keyboard. Middleton: A-R Editions.Google Scholar
  19. Morris, D., Tan, H., Barbagli, F., Chang, T., & Salisbury, K. (2007). Haptic feedback enhances force skill learning. In: Proceedings of World Haptics 2007, the 2nd Joint EuroHaptics Conference and Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems, March 22–24, 2007 (pp. 21–26). Tsukuba: IEEE Computer Society.Google Scholar
  20. Ni, L. G. (2010). The programmable haptic rhythm trainer. In Proceedings of HAVE 2010, IEEE international symposium on Haptic Audio-Visual Environments and Games, 16–17 Oct. 2010, Phoenix, Arizona.Google Scholar
  21. O’Modhrain, S. (2000). Playing by feel: Incorporating haptic feedback into computer-based musical instruments. PhD thesis, Stanford University.Google Scholar
  22. O’Regan, K., & Noe, A. (2001). A sensorimotor account of vision and visual consciousness. Behavioral and Brain Sciences, 24(5), 883–917.Google Scholar
  23. Sinclair, S. (2007). Force-feedback hand controllers for musical interaction. MSc thesis, Music Technology Area, Schulich School of Music, McGill University, Montreal, Canada.Google Scholar
  24. Sloboda, J. (1985). The musical mind: The cognitive psychology of music. Oxford: Clarendon.Google Scholar
  25. Smith, K. C., Cuddy, L. L., & Upitis, R. (1994). Figural and metric understanding of rhythm. Psychology of Music, 22, 117–135.CrossRefGoogle Scholar
  26. Spelmezan, D., Jacobs, M., Hilgers, A., & Borchers, J. (2009). Tactile motion instructions for physical activities. CHI, 2009, 2243–2252.Google Scholar
  27. Tamaki, E., Miyaki, T., & Rekimoto, J. (2011). PossessedHand: Techniques for controlling human hands using electrical muscles stimuli. In Proceedings of the 2011 annual conference on human factors in computing systems (CHI ’11) (pp. 543–552). New York: ACM.Google Scholar
  28. Upitis, R. (1987). Children’s understanding of rhythm: The relationship between development and musical training. Psychomusicology, 7(1), 41–60.CrossRefGoogle Scholar
  29. van der Linden, J., Johnson, R., Bird, J., Rogers, Y., & Schoonderwaldt, E. (2011). Buzzing to play: Lessons learned from an in the wild study of real-time vibrotactile feedback. In Proceedings of the 29th international conference on human factors in computing systems, Vancouver, BC, Canada.Google Scholar
  30. Zimmerman, T. G., Lanier, J., Blanchard, C., Bryson, S., & Harvill, Y. (1987). A hand gesture interface device. In J. M. Carroll, & P. P. Tanner (Eds.), Proceedings of the SIGCHI/GI conference on human factors in computing systems and Graphics Interface (CHI ’87) (pp.189–192). New York: ACM.Google Scholar

Copyright information

© Springer-Verlag London 2013

Authors and Affiliations

  1. 1.Intelligent Systems Lab, Faculty of ScienceUniversity of AmsterdamAmsterdamThe Netherlands
  2. 2.Music Computing LabThe Open UniversityBuckinghamshireUK
  3. 3.Department of Music, SSPALUniversity of WolverhamptonWest MidlandsUK

Personalised recommendations