Cited By
View all- Tan PRen X(2023)Rhythm Research in Interactive System Design: A Literature ReviewInternational Journal of Human–Computer Interaction10.1080/10447318.2023.229462841:1(31-50)Online publication date: 27-Dec-2023
PalmBeat: A Kinesthetic Way to Feel Groove With Music
Article No.: 4, Pages 1 - 8
Abstract
We propose a novel way to enhance the music experience, which evokes listeners to move to the music then feel the musicians’ groove through their body movements. In musical psychology, the groove is defined as an inner urge or a spontaneous behavior to move with music, such as hands tapping, head bobbing, and full-body dance. Although everyone feels the groove while listening to music, professional musicians perform better in catching the music rhythm and translating it to body movements. In this work, we used active force feedback to provide musicians’ hand movements for listeners and conducted a user study to evaluate the approach. Results show a significant influence on listeners’ groove perception, and the influence positively correlates with the frequency of force feedback. Compared to the condition without the force feedback, listening to the music with force feedback will enhancing listeners’ experience of groove, making them feel the groove as the musicians’ feeling.
References
[1]
Marc Bangert, Thomas Peschel, Gottfried Schlaug, Michael Rotte, Dieter Drescher, Hermann Hinrichs, Hans-Jochen Heinze, and Eckart Altenmüller. 2006. Shared networks for auditory and motor processing in professional pianists: evidence from fMRI conjunction. Neuroimage 30, 3 (2006), 917–926.
[2]
Birgitta Burger, Marc R Thompson, Geoff Luck, Suvi Saarikallio, and Petri Toiviainen. 2012. Music moves us: Beat-related musical features influence regularity of music-induced movement. In Proceedings of the 12th International Conference in Music Perception and Cognition and the 8th Triennial Conference of the European Society for the Cognitive Sciences for Music. 183–187.
[3]
Birgitta Burger, Marc R Thompson, Geoff Luck, Suvi H Saarikallio, and Petri Toiviainen. 2014. Hunting for the beat in the body: on period and phase locking in music-induced movement. Frontiers in human neuroscience 8 (2014), 903.
[4]
TanChyuan Chin and Nikki S Rickard. 2012. The music USE (MUSE) questionnaire: An instrument to measure engagement in music. Music Perception 29, 4 (2012), 429–446.
[5]
Takahide Etani, Atsushi Marui, Satoshi Kawase, and Peter E Keller. 2018. Optimal tempo for groove: Its relation to directions of body movement and Japanese nori. Frontiers in psychology 9 (2018), 462.
[6]
Katsuya Fujii, Sophia S. Russo, Pattie Maes, and Jun Rekimoto. 2015. MoveMe: 3D Haptic Support for a Musical Instrument(ACE ’15). Association for Computing Machinery, New York, NY, USA, Article 9, 8 pages.
[7]
Haruna Fushimi, Daiya Kato, Youichi Kamiyama, Kazuya Yanagihara, Kouta Minamizawa, and Kai Kunze. 2017. atmoSphere: designing cross-modal music experiences using spatial audio with haptic feedback. In ACM SIGGRAPH 2017 Emerging Technologies. 1–2.
[8]
Christian Gaser and Gottfried Schlaug. 2003. Brain structures differ between musicians and non-musicians. Journal of neuroscience 23, 27 (2003), 9240–9245.
[9]
G. Grindlay. 2008. Haptic Guidance Benefits Musical Motor Learning. In 2008 Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems. 397–404. https://doi.org/10.1109/HAPTICS.2008.4479984
[10]
Jason A. Hockman, Marcelo M. Wanderley, and Ichiro Fujinaga. 2009. Real-time phase vocoder manipulation by runner’s pace. In In Proc. Int. Conf. on New Interfaces for Musical Expression (NIME.
[11]
Da-Yuan Huang, Teddy Seyed, Linjun Li, Jun Gong, Zhihao Yao, Yuchen Jiao, Xiang ’Anthony’ Chen, and Xing-Dong Yang. 2018. Orecchio: Extending Body-Language through Actuated Static and Dynamic Auricular Postures(UIST ’18). Association for Computing Machinery, 697–710.
[12]
Kevin Huang, Thad Starner, Ellen Do, Gil Weinberg, Daniel Kohlsdorf, Claas Ahlrichs, and Ruediger Leibrandt. 2010. Mobile Music Touch: Mobile Tactile Stimulation for Passive Learning. Association for Computing Machinery, New York, NY, USA, 791–800. https://doi.org/10.1145/1753326.1753443
[13]
I. Hwang, H. Son, and J. R. Kim. 2017. AirPiano: Enhancing music playing experience in virtual reality with mid-air haptic feedback. In 2017 IEEE World Haptics Conference (WHC). 213–218. https://doi.org/10.1109/WHC.2017.7989903
[14]
Petr Janata, Stefan T Tomic, and Jason M Haberman. 2012. Sensorimotor coupling in music and the psychology of the groove.Journal of Experimental Psychology: General 141, 1 (2012), 54.
[15]
Akira Komatsu. 2002. Method for expressing vibratory music and apparatus therefor. US Patent 6,369,312.
[16]
Guy Madison. 2006. Experiencing groove induced by music: consistency and phenomenology. Music perception 24, 2 (2006), 201–208.
[17]
Andrew J Martin and Susan A Jackson. 2008. Brief approaches to assessing task absorption and enhanced subjective experience: Examining ‘short’and ‘core’flow in diverse performance domains. Motivation and Emotion 32, 3 (2008), 141–157.
[18]
Sebastian Merchel and M Ercan Altinsoy. 2018. Auditory-tactile experience of music. In Musical Haptics. Springer, Cham, 123–148.
[19]
Ken Nakagaki, Sean Follmer, and Hiroshi Ishii. 2015. LineFORM: Actuated Curve Interfaces for Display, Interaction, and Constraint. In Proceedings of the 28th Annual ACM Symposium on User Interface Software & Technology(Charlotte, NC, USA) (UIST ’15). Association for Computing Machinery, New York, NY, USA, 333–339. https://doi.org/10.1145/2807442.2807452
[20]
Bruno H Repp and Yi-Huang Su. 2013. Sensorimotor synchronization: a review of recent research (2006–2012). Psychonomic bulletin & review 20, 3 (2013), 403–452.
[21]
Martin Schrepp, Andreas Hinderks, and Jörg Thomaschewski. 2017. Design and Evaluation of a Short Version of the User Experience Questionnaire (UEQ-S).Ijimai 4, 6 (2017), 103–108.
[22]
Olivier Senn, Toni Bechtold, Dawn Rose, Guilherme Schmidt Câmara, Nina Düvel, Rafael Jerjen, Lorenz Kilchenmann, Florian Hoesl, Antonio Baldassarre, and Elena Alessandri. 2020. Experience of Groove Questionnaire: Instrument Development and Initial Validation. Music Perception: An Interdisciplinary Journal 38, 1 (2020), 46–65.
[23]
Jan Stupacher, Michael J Hove, Giacomo Novembre, Simone Schütz-Bosbach, and Peter E Keller. 2013. Musical groove modulates motor cortex excitability: a TMS investigation. Brain and cognition 82, 2 (2013), 127–136.
[24]
Neil Philip Todd and Chris Stuart Lee. 2015. The sensory-motor theory of rhythm and beat induction 20 years on: a new synthesis and future perspectives. Frontiers in human neuroscience 9 (2015), 444.
[25]
Gus Xia, Carter Jacobsen, Qianwen Chen, Xingdong Yang, and Roger Dannenberg. 2018. ShIFT: A Semi-haptic Interface for Flute Tutoring. (03 2018).
[26]
Yusuke Yamazaki, Hironori Mitake, Ryuto Oda, Hsueh-Han Wu, Shoichi Hasegawa, Minatsu Takekoshi, Yuji Tsukamoto, and Testuaki Baba. 2017. Hapbeat: single DOF wide range wearable haptic display. In ACM SIGGRAPH 2017 Emerging Technologies. 1–2.
[27]
Gareth W Young, David Murphy, and Jeffrey Weeter. 2018. A functional analysis of haptic feedback in digital musical instrument interactions. In Musical Haptics. Springer, Cham, 95–122.
Index Terms
- PalmBeat: A Kinesthetic Way to Feel Groove With Music
Index terms have been assigned to the content through auto-classification.
Recommendations
Effect of Body Movement on Music Expressivity in Jazz Performances
Proceedings of the 13th International Conference on Human-Computer Interaction. Part I: New TrendsIn this study, we tried to examine empirically how body motion contributes to music expressivity, both in terms of intensity and manners, during impromptu jazz performances. Psychological rating experiments showed that music expressivity in jazz ...
Manipulating music: multimodal interaction for DJs
CHI '04: Proceedings of the SIGCHI Conference on Human Factors in Computing SystemsIn this paper we consider the general goal of supporting physical manipulation of digital audio in a specific context: the performance disk jockey (DJ) seeking to migrate from vinyl to digital media. We classify both the DJ's traditional processes and ...
Standstill to the 'beat': differences in involuntary movement responses to simple and complex rhythms
AM '20: Proceedings of the 15th International Audio Mostly ConferencePrevious studies have shown that movement-inducing properties of music largely depend on the rhythmic complexity of the stimuli. However, little is known about how simple isochronous beat patterns differ from more complex rhythmic structures in their ...
Comments
Information & Contributors
Information
Published In
May 2021
73 pages
ISBN:9781450390309
DOI:10.1145/3460881
Copyright © 2021 ACM.
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]
Publisher
Association for Computing Machinery
New York, NY, United States
Publication History
Published: 28 May 2021
Check for updates
Author Tags
Qualifiers
- Research-article
- Research
- Refereed limited
Funding Sources
Conference
AH2021
Acceptance Rates
Overall Acceptance Rate 121 of 306 submissions, 40%
Contributors
Other Metrics
Bibliometrics & Citations
Bibliometrics
Article Metrics
- View Citations1Total Citations
- 211Total Downloads
- Downloads (Last 12 months)35
- Downloads (Last 6 weeks)3
Reflects downloads up to 05 Mar 2025
Other Metrics
Citations
Cited By
View all- Tan PRen X(2023)Rhythm Research in Interactive System Design: A Literature ReviewInternational Journal of Human–Computer Interaction10.1080/10447318.2023.229462841:1(31-50)Online publication date: 27-Dec-2023
View Options
Login options
Check if you have access through your login credentials or your institution to get full access on this article.
Sign inFull Access
View options
View or Download as a PDF file.
PDFeReader
View online with eReader.
eReaderHTML Format
View this article in HTML Format.
HTML Format