Supporting Non-Musicians? Creative Engagement with Musical Interfaces

This paper reports on a study which sets out to examine the process of creative engagement of individual non-musicians when interacting with interactive musical systems (IMSs), and to identify features of IMSs that may support non-musician's creative engagement in music making. In order to creatively engage novices, we aimed to design IMSs which would combine the intuitive interaction of `sound toys' with the rich and complex music possibilities offered by IMSs to support individual learning and creative processes. Two IMSs were designed and built and an empirical user study was conducted of them. The study used a multi-layered methodology, which combined interviews and recordings of user interactions. Analysis of participants' behaviour with the IMSs led to the identification of interaction patterns, which were used to identify a three-step framework ('learn', 'exploration','creation') of creative engagement with the musical interfaces, and to inform the development of implications for design for supporting creative engagement with IMSs. Key implications for design identified in this study are to support novices to: learn the sound; play live; catalyze insights; and scaffold composition. The basic study methodology of this paper also offers a contribution to methods for evaluating designs by combining recording user interactions with interviews.

[1]  Nick Bryan-Kinns Daisyphone: the design and impact of a novel environment for remote group music improvisation , 2004, DIS '04.

[2]  Andrew P. McPherson,et al.  Radear: A Tangible Spinning Music Sequencer , 2014, NIME.

[3]  Stefania Serafin,et al.  A Practical Approach towards an Exploratory Framework for Physical Modeling , 2010, Computer Music Journal.

[4]  Golan Levin Painterly interfaces for audiovisual performance , 2000 .

[5]  Mitchel Resnick,et al.  Pianos not stereos: creating computational construction kits , 1996, INTR.

[6]  Gideon D'Arcangelo,et al.  Creating Contexts of Creativity: Musical Composition with Modular Components , 2001, NIME.

[7]  Veronica Teichrieb,et al.  A Drawing-Based Digital Music Instrument , 2013, NIME.

[8]  Ali Momeni,et al.  Facilitating collective musical creativity , 2005, ACM Multimedia.

[9]  Kazuhiro Jo,et al.  DrawSound: a drawing instrument for sound performance , 2008, TEI.

[10]  Simon Dixon,et al.  The Divergent Interface: Supporting Creative Exploration of Parameter Spaces , 2014, NIME.

[11]  Nick Bryan-Kinns,et al.  Designing collaborative musical experiences for broad audiences , 2013, Creativity & Cognition.

[12]  A. Clark Being There: Putting Brain, Body, and World Together Again , 1996 .

[13]  Ernest Edmonds,et al.  On creative engagement , 2006 .

[14]  Boris Müller,et al.  Articulated paint: musical expression for non-musicians , 2007, NIME '07.

[15]  Daniel Overholt,et al.  The Musical Interface Technology Design Space , 2009, Organised Sound.

[16]  Gil Weinberg,et al.  The Beatbug Network: A Rhythmic System for Interdependent Group Collaboration , 2002, NIME.

[17]  Narges Mahyar,et al.  On Two Desiderata for Creativity Support Tools , 2010, ICCC.

[18]  Matthew Wright,et al.  Problems and prospects for intimate musical control of computers , 2001 .

[19]  Linda Candy,et al.  Designing for creative engagement , 2008 .

[20]  D. Kerby The Simple Difference Formula: An Approach to Teaching Nonparametric Correlation1: , 2014 .

[21]  Dan Stowell,et al.  Evaluation of live human-computer music-making: Quantitative and qualitative approaches , 2009, Int. J. Hum. Comput. Stud..

[22]  Carol Parkinson,et al.  Proceedings of the 7th international conference on New interfaces for musical expression , 2007 .

[23]  M. Schmuckler Testing Models of Melodic Contour Similarity , 1999 .

[24]  Francisco Zamorano Simpletones: A System of Collaborative Physical Controllers for Novices , 2012, NIME.

[25]  Lucy A. Suchman,et al.  Plans and Situated Actions: The Problem of Human-Machine Communication (Learning in Doing: Social, , 1987 .

[26]  Hiroshi Ishii,et al.  I/O brush: drawing with everyday objects as ink , 2004, CHI.

[27]  Stefania Serafin,et al.  PHYSMISM: a control interface for creative exploration of physical models , 2007, NIME '07.

[28]  M. Csíkszentmihályi Creativity: Flow and the Psychology of Discovery and Invention , 1996 .

[29]  Sidney S. Fels,et al.  Designing for intimacy: creating new interfaces for musical expression , 2004, Proceedings of the IEEE.

[30]  Jan C. Schacher,et al.  Gestural electronic music using machine learning as generative device , 2015, NIME.

[31]  Linda Candy,et al.  Understanding and evaluating creativity , 2007, C&C '07.

[32]  Sergi Jordà,et al.  The reacTable: exploring the synergy between live music performance and tabletop tangible interfaces , 2007, TEI.

[33]  Jiffer Harriman Sinkapater -An Untethered Beat Sequencer , 2012, NIME.

[34]  Samuel Lee,et al.  Online map interface for creative and interactive music-making = 창의적이고 인터랙티브한 음악 제작을 위한 온라인 맵 인터페이스에 대한 연구 , 2010 .

[35]  Gilbert Beyer,et al.  Music Interfaces for Novice Users: Composing Music on a Public Display with Hand Gestures , 2011, NIME.

[36]  George Frederick McKay Experimental Music , 1959 .

[37]  Ben Shneiderman,et al.  Creating creativity: user interfaces for supporting innovation , 2000, TCHI.

[38]  Lucy Suchman Plans and situated actions: the problem of human-machine communication , 1987 .

[39]  K. Gwet Computing inter-rater reliability and its variance in the presence of high agreement. , 2008, The British journal of mathematical and statistical psychology.

[40]  Ben Shneiderman,et al.  Creativity support tools: accelerating discovery and innovation , 2007, CACM.

[41]  Gil Weinberg,et al.  "iltur" - Connecting Novices and Experts Through Collaborative Improvisation , 2005, NIME.

[42]  Davide Rocchesso,et al.  Innovative Tools for Sound Sketching Combining Vocalizations and Gestures , 2016, Audio Mostly Conference.

[43]  Dominique Robson PLAY!: Sound Toys for Non-Musicians , 2002, Computer Music Journal.

[44]  Jennifer G. Sheridan,et al.  Designing for performative tangible interaction , 2008, Int. J. Arts Technol..

[45]  Gil Weinberg,et al.  Interconnected musical networks: bringing expression and thoughtfulness to collaborative group playing , 2003 .

[46]  Tim Murray-Browne,et al.  Interactive music: Balancing creative freedom with musical development. , 2012 .

[47]  Ted Hayes,et al.  Neurohedron: A Nonlinear Sequencer Interface , 2010, NIME.

[48]  Anne-Marie Skriver Hansen,et al.  Play Fluency in Music Improvisation Games for Novices , 2011, NIME.

[49]  James D. Hollan,et al.  Distributed cognition: toward a new foundation for human-computer interaction research , 2000, TCHI.

[50]  V. Braun,et al.  Using thematic analysis in psychology , 2006 .

[51]  Tod Machover Instruments, Interactivity, and Inevitability , 2002, NIME.

[52]  Steven M. Smith,et al.  Creative Cognition: Theory, Research, and Applications , 1996 .

[53]  Joseph A. Paradiso,et al.  Large Group Musical Interaction using Disposable Wireless Motion Sensors , 2002, ICMC.