HapticSOUND: An Interactive Learning Experience with a Digital Musical Instrument

With the development of science and technology, traditional musical instruments are starting to be abandoned, one of the factors is the ease of playing modern musical instruments, and traditional musical instruments are also rarely found in everyday life. With the progress of today's era, AR (Augmented Reality) technology was born. The way Augmented Reality works is by scanning a sign or marker. This research aims to build an application with augmented reality technology to introduce traditional shadow puppets musical instruments. This research was designed using the MDLC (Multimedia Development Life Cycle) method. They were testing the application using blackbox testing on two smartphones with different specifications, with the result that both smartphones could run the application properly. Then for testing the use of the application using the heuristic evaluation method carried out by an expert with the highest severity rating value on the visibility of system status with a value of 0.625. The result of this research is the application of traditional shadow puppets musical instruments based on augmented reality, which is expected to be used to introduce traditional shadow puppets musical instruments.

Digital musical instruments (DMIs) offer the possibility to create barrier-free access to active music-making and to unique sound aesthetics for a broad group of people, including those who experience disabling barriers to access when using traditional acoustic musical instruments. However, current music education research focuses primarily on app-based DMIs. Although these devices have numerous advantages, such as ubiquitous availability and flexibility, they may be experienced as disabling by people with severe cognitive or complex disabilities. Thus, they only partially exploit the potential of DMIs for special educational needs (SEN) music practices, which we outline in this article. However, given that no comprehensive studies have yet been conducted on the use of DMIs in SEN schools, the actual motives and barriers for SEN school teachers to employ different types of DMIs in class are largely unknown. To address this research gap, we present the results of a quantitative survey covering all SEN schools in 12 of Germany's 16 federal states. We surveyed the status quo of DMI use in SEN schools and the perceived potential of DMIs and DMI-related information needs from the music teachers’ perspective. Our findings demonstrate that DMIs are only rarely used in Germany, with the exception of established standard DMIs such as keyboards and music apps. Unfortunately, accessible DMIs (ADMIs) are hardly used. Related to the rare use of DMIs in SEN schools, we also identified a lack of domain-specific knowledge among music teachers and concluded that there was a need to develop DMIs specifically designed for use in classroom education. Finally, we discuss the potential of using open-source DMI technology as well as the importance of identifying music teachers’ attitudes during DMI development.

This research was held to design create games that can provide children with knowledge of traditional musical instruments in Central Java.The initial design of the game is done by collecting data by interviewing the speakers. The game was created using Construct 2. This game has 5 different gameplay and when completing each stage you will get 3 traditional musical instruments except stage 5. Players can get information about traditional musical instruments and the sounds they produce. The game was tested on 41 respondents and the results of the game had a positive impact on players and provided new knowledge about traditional musical instruments.

As unique forms of intangible cultural heritage of Inner Mongolia, traditional musical instruments from the region have undergone significant changes alongside socioeconomic development and evolving performance styles. The performance environment has transitioned from early outdoor and non-fixed venues to professional concert halls. Existing research has demonstrated a correlation between the acoustic quality of performance halls and their objective architectural acoustic parameters. However, no studies have been conducted in China on the acoustic parameters suitable for the performance environments of traditional Inner Mongolian musical instruments. This study determined the optimal acoustic environment for performances of traditional musical instruments, unique to Inner Mongolia, by employing computer simulations and subjective listening experiments in representative performance spaces. Participants were asked to select preferred audio samples of different reverberation times, generated by convolving the impulse responses of simulated spatial models with dry recordings of the instruments. Statistical analysis of the results revealed that the optimal reverberation times for traditional Inner Mongolian instruments are 1.2 s and 1.4 s in a theater space, and 0.9 s and 1.1 s in a rectangular space. Furthermore, under the influence of different factors, the four instruments exhibited distinct preferences for optimal reverberation values in the sampled spaces.

One alternative method of physics learning is inquiry to create active learning centered on learners by involving media as an object of study. This study aims to explore the understanding of students about the kinds of traditional Mbojonese musical instruments and mastery of basic concepts of vibration-waves, as well as design learning activity by constructing a concept through exploration of a traditional music instrument, a Gambo. Data were collected from a group of physics teacher candidates through observation and completion of a questionnaire sheet and instrument concepts comprehension test. Data relating to responses in the learning process are expressed in percentages and analyzed using descriptive quantitative rating scales. However, the quantitative data of learning outcome were analyzed statistically with normalized gain determined by the hake factor (N-gain). Based on the result of the research, it is concluded that the basic conceptual understanding of students is still in the minimal category, but the design of inquiry activities with traditional musical instruments can increase the effectiveness of physics learning, which is indicated by active questioning, positive responses and good performance of the learners in the investigation activities, as well as an increased understanding of the basic concept of vibration-waves.

One of the limitations of real‐time musical instruments is their methods of gestural capture. The normal Man‐Machine Interface is constructed from a series of switches organised as an electronic keyboard, and can typically provide only two or three control dimensions (time struck, velocity of strike and pressure). Conversely, traditional musical instruments are capable of being controlled in a much more subtle and complex way. The Fourier Transformation (FT) is a familiar method of transforming a time‐series of samples to its frequency‐space equivalent. Unfortunately, this process is rather inaccurate when exact control parameters are required for a real‐time electronic musical instrument. The use of the phase vocoder can overcome these inaccuracies by preserving and using the phase information of successive FTs. By using the sound of a traditional instrument to control a synthesiser, it may be possible to take advantage of the former's more subtle control possibilities. The vast quantity of info...

The purpose of this research is to reveal the meaning of kelambut for the Sentani tribe in Papua. Kelambut is known as a traditional Papuan musical instrument. Kelambut is known to the people of Sentani , Papua. However, is the kelambut instrument important for the cultural activities of the Sentani people? The questions are: 1) What is kelambut ?; 2) What does kelambut mean for the Sentani people in Papua? This research was completed using qualitative methods. Observations, FGDs, and interviews have been used to collect data on Papua, especially from informants. Literature studies are useful for collecting secondary data about the Sentani tribe and traditional Papuan musical instruments. All data were analyzed qualitatively using ethnomusic theory, symbol theory, and reception theory. The results showed: 1) The kelambut is a traditional Papuan musical instrument shaped like a boat. The sound of kelambut music is produced by being hit with a mallet made of forest wood. 2) The kelambut is a traditional musical instrument that is important for the cultural activities of the Sentani tribe because it has esthetic meaning, historical meaning, communication meaning, environmental meaning, social meaning, and religious meaning. The novelty of this research is its multi-meaningful positive contribution to the preservation of traditional art. It can be used as a review to refute the kelambut discourse that this instrument has become extinct in the culture of the Sentani people. In addition, this finding may inspire other artists to enculturate the arts. Keywords: Meaning, Kelambut, Sentani Tribe, Papua DOI： https://doi.org/10.35741/issn.0258-2724.58.4.32

This research focuses on real-time gesture learning and recognition. Events arrive in a continuous stream without explicitly given boundaries. To obtain temporal accuracy, weneed to consider the lag between the detection of an eventand any effects we wish to trigger with it. Two methodsfor real time gesture recognition using a Nintendo Wii controller are presented. The first detects gestures similar to agiven template using either a Euclidean distance or a cosinesimilarity measure. The second method uses novel information theoretic methods to detect and categorize gestures inan unsupervised way. The role of supervision, detection lagand the importance of haptic feedback are discussed.

Musical instruments of various shapes and sizes are produced in various parts of the country, Nigeria like every other country. Their productions depend on the areas they are found and/or are commonly used. In Edem community of Nsukka, some musical instruments were sparingly used by the people before the 20th century, but in recent times, some of such instruments have been modified, such that their mechanisms and roles in recent musical activities prompted the curiosity for this research. This paper aims at studying those special instruments and their socio-cultural roles in Edem community in Nsukka Local Government Area of Enugu State, which includes, the ‘Ariweze’ known as king’s flute, and ‘Igede-eze’ known as king’s drum, and the processes and mechanisms involved in their production. Whereby previously the king’s flute was produced with wood and kings drums were produced with wood and animal skin but in this contemporary times, plumbing tubs are used to produce the king’s flute while empty oil tins and tarpaulins are used in producing the king’s drum. The study adopted descriptive and historical methods of research, whereby interviews and indebt study were utilized to ascertain the socio-cultural roles of these aforementioned traditional musical instruments and their mechanisms, for proper documentation and for the purpose of preserving their rich cultural heritage.

In this article the author attempts to clarify the meaning and essence of the terms autochthonous and authentic folk musical instrument, which is of exceptional importance for explaining the process of formation of the national instrumental tradition, in particular its collective forms under consideration, on the example of the musical folk-instrumental culture of the Carpathian folklore tradition. Іn particular, the status of the study of selected issues in recent studies and publications is analyzed; a comparative analysis was carried out of the dictionary definitions of the terms autochthonous and authentic; their semantics is substantiated in defining the term "Ukrainian folk musical instrument". Significant contribution to the study of the problem theoretical understanding of the semantics of the terms "autochthonous" and "authentic" in the definition of "Ukrainian folk musical instrument" became the works of V.Dutchak, I.Zinkіv, M.Imkhanitsky, I. Matsievsky, Ya. Pavliv, M. Stankiewich, N. Suprun-Yaremko, M. Khay, L. Cherkasky, B. Yaremko. The term "autochthonous" is explained as a local, indigenous one, which makes it possible to distinguish those traditional instruments that originated in the studied territory and became important in the creation of folk-instrumental culture of the ethnic groups of the Carpathian region. Also autochthonous are those instruments (archeological "fossils" and those preserved in Ukrainian "musical" iconography) that have existed since ancient times in our country. The main criteria of "authentic" determine the originality and rootedness of folk musical instruments in this territory. In our opinion, the terms "autochthonous" and "authentic" are fundamental in defining the concept of "Ukrainian folk musical instrument". After all, nowadays, academic folk instruments function in the musical educational institutions of Ukraine and, at the same time, in the national environment to perform traditional music.

Traditional musical instruments are an integral part of Indonesia's rich and diverse culture. One particularly fascinating instrument is the Rinding/Knobe, which originates from South Central Timor Regency (TTS), East Nusa Tenggara. This musical instrument not only holds artistic value but also represents the cultural identity of the local community. This study aims to explore the potential of the traditional musical instrument Rinding/Knobe Oh in Indonesian language learning within the Merdeka Curriculum. Using a qualitative approach, this research analyzes data from interviews, observations, and documentation to understand how this instrument can integrate local cultural values into the learning process. The findings indicate that introducing the Rinding/Knobe Oh musical instrument can enhance students' interest and motivation, enrich their learning experience, and contribute to the preservation of local culture. This culture-based learning approach not only helps students grasp language concepts but also fosters a sense of appreciation for the nation's cultural heritage. The implications of this study highlight the importance of integrating local arts and culture into the curriculum to create a more meaningful and relevant learning experience for students.

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We present and evaluate the EyeHarp, a new gaze-controlled Digital Musical Instrument, which aims to enable people with severe motor disabilities to learn, perform, and compose music using only their gaze as control mechanism. It consists of (1) a step-sequencer layer, which serves for constructing chords/arpeggios, and (2) a melody layer, for playing melodies and changing the chords/arpeggios. We have conducted a pilot evaluation of the EyeHarp involving 39 participants with no disabilities from both a performer and an audience perspective. In the first case, eight people with normal vision and no motor disability participated in a music-playing session in which both quantitative and qualitative data were collected. In the second case 31 people qualitatively evaluated the EyeHarp in a concert setting consisting of two parts: a solo performance part, and an ensemble (EyeHarp, two guitars, and flute) performance part. The obtained results indicate that, similarly to traditional music instruments, the proposed digital musical instrument has a steep learning curve, and allows to produce expressive performances both from the performer and audience perspective.

Over the past four decades, the number, diversity and complexity of digital musical instruments (DMIs) has increased rapidly. There are very few constraints on DMI design as such systems can be easily reconfigured, offering near limitless flexibility for music-making. Given that new acoustic musical instruments have in many cases been created in response to the limitations of available technologies, what motivates the development of new DMIs? We conducted an interview study with ten designers of new DMIs, in order to explore (a) the motivations electronic musicians may have for wanting to build their own instruments; and (b) the extent to which these motivations relate to the context in which the artist works and performs (academic vs club settings). We found that four categories of motivation were mentioned most often: M1 – wanting to bring greater embodiment to the activity of performing and producing electronic music; M2 – wanting to improve audience experiences of DMI performances; M3 – wanting to develop new sounds, and M4 – wanting to build responsive systems for improvisation. There were also some detectable trends in motivation according to the context in which the artists work and perform. Our results offer the first systematically gathered insights into the motivations for new DMI design. It appears that the challenges of controlling digital sound synthesis drive the development of new DMIs, rather than the shortcomings of any one particular design or existing technology.

Comprehensive dataset of Portuguese folk instruments for computer vision and heritage research