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Articles de revues sur le sujet « Accessible digital musical instruments »

Auteur : Grafiati

Publié le 9 mars 2023

Mis à jour le 31 juillet 2025

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1

Frid, Emma. "Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice." Multimodal Technologies and Interaction 3, no. 3 (2019): 57. http://dx.doi.org/10.3390/mti3030057.

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Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a tot

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Gonçalves, Luan Luiz, and Flávio Luiz Schiavoni. "Creating Digital Musical Instruments with libmosaic-sound and Mosaicode." Revista de Informática Teórica e Aplicada 27, no. 4 (2020): 95–107. http://dx.doi.org/10.22456/2175-2745.104342.

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Music has been influenced by digital technology over the last few decades. With the computer and the Digital Musical Instruments, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Lang

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Davanzo, Nicola, and Federico Avanzini. "Hands-Free Accessible Digital Musical Instruments: Conceptual Framework, Challenges, and Perspectives." IEEE Access 8 (2020): 163975–95. http://dx.doi.org/10.1109/access.2020.3019978.

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Samuels, Koichi, and Franziska Schroeder. "Performance without Barriers: Improvising with Inclusive and Accessible Digital Musical Instruments." Contemporary Music Review 38, no. 5 (2019): 476–89. http://dx.doi.org/10.1080/07494467.2019.1684061.

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Ilsar, Alon, Gail Kenning, Sam Trolland, and Ciaran Frame. "Inclusive Improvisation: Exploring the Line between Listening and Playing Music." ACM Transactions on Accessible Computing 15, no. 2 (2022): 1–21. http://dx.doi.org/10.1145/3506856.

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The field of Accessible Digital Musical Instruments (ADMIs) is growing rapidly, with instrument designers recognising that adaptations to existing Digital Musical Instruments (DMIs) can foster inclusive music making. ADMIs offer opportunities to engage with a wider range of sounds than acoustic instruments. Furthermore, gestural ADMIs free the music maker from relying on screen, keyboard, and mouse-based interfaces for engaging with these sounds. This brings greater opportunities for exploration, improvisation, empowerment, and flow through music making for people with disability and the commu

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Peñalba, Alicia, María-José Valles, Elena Partesotti, María-Ángeles Sevillano, and Rosario Castañón. "Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer." Journal of Music, Technology and Education 12, no. 1 (2019): 79–94. http://dx.doi.org/10.1386/jmte.12.1.79_1.

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Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows fo

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Samuels, Koichi. "The Meanings in Making: Openness, Technology and Inclusive Music Practices for People with Disabilities." Leonardo Music Journal 25 (December 2015): 25–29. http://dx.doi.org/10.1162/lmj_a_00929.

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Digital musical instruments and interfaces can be designed to enable people with disabilities to participate in creative music-making. Advances in personalized, open source technologies and low-cost DIY components have made customized musical tools easily accessible for use in inclusive music-making. In this article, the author discusses his research with the Drake Music Project Northern Ireland on making music-making more inclusive.

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Förster, Andreas, and Norbert Schnell. "Designing accessible digital musical instruments for special educational needs schools—A social-ecological design framework." International Journal of Child-Computer Interaction 41 (September 2024): 100666. http://dx.doi.org/10.1016/j.ijcci.2024.100666.

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Al Imran, Md Ibrahim, Fahmida Ahmed Antara, Bidya Debnath, and Adrita Anika. "DESIGN AND IMPLEMENTATION OF A 36-NOTE LOW-COST CUSTOMIZED DIGITAL MUSIC BOX." Acta Mechanica Malaysia 6, no. 2 (2023): 66–72. http://dx.doi.org/10.26480/amm.02.2023.66.72.

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The purpose of the current study was to design and build a music box with digitally produced notes. The input command sheet allows anybody to create any melody from the octave, making it possible to think of it as a small version of a musical instrument. This instrument is capable of producing frequencies in all three octaves, i.e., the lower, the middle, and the higher octaves. This music box may therefore play any tune, no matter how short or lengthy the note is. There is no need to alter the frequencies over time because no string is used in the creation. It can play any song to one’s heart

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Petkova, Diana. "Cross-modal Priming of a Music Education Event in a Digital Environment." International Journal of Cognitive Research in Science, Engineering and Education 13, no. 1 (2025): 75–81. https://doi.org/10.23947/2334-8496-2025-13-1-75-81.

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This study aims to explore the potential of the digital environment for implementing a multimodal approach in music education. The effectiveness of information received through a combination of sensory stimuli demonstrates a higher coefficient of educational efficiency and is examined as cross-modal priming. Digital technologies: including specialized and educational software, virtual instruments, and artificial intelligence (AI), transform the music education experience into an accessible resource for individuals with limited musical abilities or non-professional knowledge in the field of art

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Devyatova, Olga L., and Aleksandra A. Pichueva. "Dance Culture in the Digital Age." Observatory of Culture 19, no. 4 (2022): 372–80. http://dx.doi.org/10.25281/2072-3156-2022-19-4-372-380.

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The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorat

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Frid, Emma. "Correction: Frid, E. Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice. Multimodal Technologies and Interaction 2019, Vol. 3, Page 57." Multimodal Technologies and Interaction 4, no. 3 (2020): 34. http://dx.doi.org/10.3390/mti4030034.

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Frid, Emma, Claudio Panariello, and Claudia Núñez-Pacheco. "Customizing and Evaluating Accessible Multisensory Music Experiences with Pre-Verbal Children—A Case Study on the Perception of Musical Haptics Using Participatory Design with Proxies." Multimodal Technologies and Interaction 6, no. 7 (2022): 55. http://dx.doi.org/10.3390/mti6070055.

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Research on Accessible Digital Musical Instruments (ADMIs) has highlighted the need for participatory design methods, i.e., to actively include users as co-designers and informants in the design process. However, very little work has explored how pre-verbal children with Profound and Multiple Disabilities (PMLD) can be involved in such processes. In this paper, we apply in-depth qualitative and mixed methodologies in a case study with four students with PMLD. Using Participatory Design with Proxies (PDwP), we assess how these students can be involved in the customization and evaluation of the

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de Mora, Lee, Alistair A. Sellar, Andrew Yool, et al. "Earth system music: music generated from the United Kingdom Earth System Model (UKESM1)." Geoscience Communication 3, no. 2 (2020): 263–78. http://dx.doi.org/10.5194/gc-3-263-2020.

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Abstract. Scientific data are almost always represented graphically in figures or in videos. With the ever-growing interest from the general public in understanding climate sciences, it is becoming increasingly important that scientists present this information in ways that are both accessible and engaging to non-experts. In this pilot study, we use time series data from the first United Kingdom Earth System Model (UKESM1) to create six procedurally generated musical pieces. Each of these pieces presents a unique aspect of the ocean component of the UKESM1, either in terms of a scientific prin

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Saputra, Dani Nur, Agus Cahyono, Udi Utomo, Eko Raharjo, and Oriana Tio Parahita Nainggolan. "Integrating Tradition and Technology: Digital Audio Workstation-Based Learning for Traditional Music Preservation." Resital: Jurnal Seni Pertunjukan 25, no. 2 (2024): 321–37. https://doi.org/10.24821/resital.v25i2.13913.

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The use of technology into conventional music education offers novel prospects for both preservation and creativity. This study examines the application of Digital Audio Workstations (DAWs) as an educational instrument for instructing and conserving traditional music, specifically within the setting of Desa Cisaat, Subang, West Java. The study included 25 young participants from the hamlet, with the objective of evaluating how DAW-based learning may enhance their involvement with traditional Sundanese music. The study illustrates how DAWs connect old musical traditions with contemporary digita

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Patton, Kevin. "Morphological notation for interactive electroacoustic music." Organised Sound 12, no. 2 (2007): 123–28. http://dx.doi.org/10.1017/s1355771807001781.

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AbstractInteractive electroacoustic music that alters or extends instrumental timbre, samples it, or generates sound based upon data generated in real time by the performer presents a new set of challenges for the performing musician. Unlike tape music, interactive music can continuously vary its response and, frequently, performers are unable are to predict how the computer will react. Many, if not most, scores include no visual representation of how the computer may affect the sound of the instrument.Providing performers with a readily accessible visual representation of the sonic possibilit

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Berdahl, Edgar, Wendy Ju, and Julius O. Smith. "Homemade digital musical instruments." Journal of the Acoustical Society of America 127, no. 3 (2010): 1763. http://dx.doi.org/10.1121/1.3383757.

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Fujimori, Jun‐ichi, and Hirokazu Kato. "Digital signal processing aspects of digital musical Instruments." Journal of the Acoustical Society of America 84, S1 (1988): S104. http://dx.doi.org/10.1121/1.2025649.

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Magnusson, Thor. "Of Epistemic Tools: musical instruments as cognitive extensions." Organised Sound 14, no. 2 (2009): 168–76. http://dx.doi.org/10.1017/s1355771809000272.

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This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemolog

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Bech-Hansen, Mikkel. "Musical Instrument Interfaces." A Peer-Reviewed Journal About 2, no. 1 (2013): 112–19. http://dx.doi.org/10.7146/aprja.v2i1.121132.

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   Controlling digital tools, instruments or appliances can be a quite tedious task. It could seem as if the huge computational and technological potentials of digital technologies – often internalized and inaccessible – in many cases take precedence over the very interface that is to unleash its powers. The following is a preliminary overview of my motivation and some of the main issues within the context of my research on musical instrument interfaces. My own experiences and frustrations as a musician and sound engineer is probably the primary driving force behind this proj

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Isaac Abraham Thottathil and S. Thivaharan. "Virtual Musical Instruments with Python and OpenCV." March 2023 5, no. 1 (2023): 1–20. http://dx.doi.org/10.36548/jucct.2023.1.001.

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There is an increasing need for musical aspirants to have access to cheaper musical instruments. This study explores the opportunities to utilize image recognition algorithms via OpenCV to port this technology into readily available modern devices, which will enable inexpensive yet authentic methods of playing a piano. Through OpenCV and Pygame libraries, one can set up a rigid camera that will trace the player’s fingers. The fingers if they cross or hover over a specific coordinate of a key, the piano note (.wav file) will be played by Pygame’s mixer module. This simple yet inexpensive option

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Tahıroğlu, Koray, Thor Magnusson, Adam Parkinson, Iris Garrelfs, and Atau Tanaka. "Digital Musical Instruments as Probes: How computation changes the mode-of-being of musical instruments." Organised Sound 25, no. 1 (2020): 64–74. http://dx.doi.org/10.1017/s1355771819000475.

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This article explores how computation opens up possibilities for new musical practices to emerge through technology design. Using the notion of the cultural probe as a lens, we consider the digital musical instrument as an experimental device that yields findings across the fields of music, sociology and acoustics. As part of an artistic-research methodology, the instrumental object as a probe is offered as a means for artists to answer questions that are often formulated outside semantic language. This article considers how computation plays an important role in the authors’ personal performa

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Tahiroğlu, Koray, Thor Magnusson, Adam Parkinson, Iris Garrefls, and Atau Tanaka. "Digital Musical Instruments as Probes: How Computation Changes the Mode-of-Being of Musical Instruments." Organised Sound 25, no. 2 (2020): 269. http://dx.doi.org/10.1017/s1355771820000187.

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Papetti, Stefano, Hanna Järveläinen, and Federico Fontana. "Design and Assessment of Digital Musical Devices Yielding Vibrotactile Feedback." Arts 12, no. 4 (2023): 143. http://dx.doi.org/10.3390/arts12040143.

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Touch has a pivotal importance in determining the expressivity of musical performance for a number of musical instruments. However, most digital musical devices provide no interactive force and/or vibratory feedback to the performer, thus depriving the somatosensory channel of a number of cues. Is the lack of haptic feedback only an aesthetic issue, or does it remove cues essential for digital instrument playing? If so, at which level is the interaction objectively impoverished? What are the effects on musical performance? In this survey article we illustrate our recent research about the use

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Nezelschi, Claudia. "MATHEMATICAL DEDUCTIONS AND POETRY, MUSICAL INSTRUMENTS IN SECONDARY SCHOOL." Review of Artistic Education 29 (May 30, 2025): 148–55. https://doi.org/10.35218/rae-2025-0020.

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Abstract: We will present a method by which, during music education class, students can be presented, clarified, and fixed with elements of music theory and music-poetry connections, all starting from the virtual piano and guitar, applications currently accessible to anyone, anytime. Key words: deduction, body percussion, musical and poetic meter

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Corliss, Edith L. R. "Accessible methods for measuring the resonance properties of musical instruments." Journal of the Acoustical Society of America 87, S1 (1990): S97. http://dx.doi.org/10.1121/1.2028447.

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Ihde, Don. "A Finnish turn: Digital and synthesiser musical instruments." Journal of New Music Research 50, no. 2 (2021): 165–74. http://dx.doi.org/10.1080/09298215.2021.1906709.

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Hargs, Esther, and Joseph Rothstein. "Digital Musical Instruments and the World of MIDI." Computer Music Journal 18, no. 3 (1994): 85. http://dx.doi.org/10.2307/3681192.

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Borden, David, and Joseph Rothstein. "Digital Musical Instruments and the World of MIDI." Notes 52, no. 1 (1995): 161. http://dx.doi.org/10.2307/898841.

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Martin, Charles P. "Percussionist-Centred Design for Touchscreen Digital Musical Instruments." Contemporary Music Review 36, no. 1-2 (2017): 64–85. http://dx.doi.org/10.1080/07494467.2017.1370794.

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Guzmán Anaya, Cristina. "On the Organological Potential of Video Games." Journal of Sound and Music in Games 4, no. 3 (2023): 53–86. http://dx.doi.org/10.1525/jsmg.2023.4.3.53.

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The various—and often unpredictable—musical applications given to new digital technologies have fundamentally altered our ways of creating, performing, representing, and understanding musical instruments, giving way to new sounding artifacts that pose unprecedented challenges to musical iconography and organology. The multifaceted nature of digital musical instruments has exposed the limitations of traditional organology, prompting a redefinition of the concept of instrumentality and an upsurge of new methodologies. This renovation, however, has yet to recognize the organological potential of

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Lyon, Eric, R. Benjamin Knapp, and Gascia Ouzounian. "Compositional and Performance Mapping in Computer Chamber Music: A Case Study." Computer Music Journal 38, no. 3 (2014): 64–75. http://dx.doi.org/10.1162/comj_a_00257.

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The mapping problem is inherent to digital musical instruments (DMIs), which require, at the very least, an association between physical gestures and digital synthesis algorithms to transform human bodily performance into sound. This article considers the DMI mapping problem in the context of the creation and performance of a heterogeneous computer chamber music piece, a trio for violin, biosensors, and computer. Our discussion situates the DMI mapping problem within the broader set of interdependent musical interaction issues that surfaced during the composition and rehearsal of the trio. Thr

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Aveyard, Jon, and Dan Wilkinson. "Third City 2017: Improvisational Roles in Performances Using Live Sampling." Open Cultural Studies 2, no. 1 (2018): 562–73. http://dx.doi.org/10.1515/culture-2018-0051.

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Abstract The 2017 set by the electroacoustic duo Third City comprised five pieces, each defined by an audio path linking different acoustic musical instruments to digital musical instruments to enable live sampling. Performances were then improvised within structures developed in rehearsal. The authors here ask how the different instruments and audio paths influenced the improvisational roles taken by the performers. Previously established differences between acoustic musical instruments and digital musical instruments are highlighted, and questions regarding their use within improvisation are

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Groten, Sean. "Interviewing the musical sample." Explorations in Media Ecology 19, no. 3 (2020): 255–66. http://dx.doi.org/10.1386/eme_00045_1.

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Digital technologies and Musical Instrument Digital Interface-sampled instruments have emerged as one of the most significant technological shifts in musical consciousness in western society. Digital music has introduced new epistemologies of music as it raises questions of authorship and creativity, while also challenging the ontological presumptions about what it means to be a musician. Through interviewing the sample by applying various posthuman heuristics, I explore my own relationship to digital music samples and sampling technology as a composer and musician. I engage in a phenomenologi

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Mudd, Tom, Simon Holland, and Paul Mulholland. "The Role of Nonlinear Dynamics in Musicians' Interactions with Digital and Acoustic Musical Instruments." Computer Music Journal 43, no. 4 (2020): 25–40. http://dx.doi.org/10.1162/comj_a_00535.

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Nonlinear dynamic processes are fundamental to the behavior of acoustic musical instruments, as is well explored in the case of sound production. Such processes may have profound and under-explored implications for how musicians interact with instruments, however. Although nonlinear dynamic processes are ubiquitous in acoustic instruments, they are present in digital musical tools only if explicitly implemented. Thus, an important resource with potentially major effects on how musicians interact with acoustic instruments is typically absent in the way musicians interact with digital instrument

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Emerson, Gina, and Hauke Egermann. "Exploring the motivations for building new digital musical instruments." Musicae Scientiae 24, no. 3 (2018): 313–29. http://dx.doi.org/10.1177/1029864918802983.

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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 buil

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Demoli, Nazif, and Ivan Demoli. "Dynamic modal characterization of musical instruments using digital holography." Optics Express 13, no. 13 (2005): 4812. http://dx.doi.org/10.1364/opex.13.004812.

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O'Modhrain, Sile. "A Framework for the Evaluation of Digital Musical Instruments." Computer Music Journal 35, no. 1 (2011): 28–42. http://dx.doi.org/10.1162/comj_a_00038.

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Roberts, Charles, Graham Wakefield, Matthew Wright, and JoAnn Kuchera-Morin. "Designing Musical Instruments for the Browser." Computer Music Journal 39, no. 1 (2015): 27–40. http://dx.doi.org/10.1162/comj_a_00283.

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Native Web technologies provide great potential for musical expression. We introduce two JavaScript libraries towards this end: Gibberish.js, providing heavily optimized audio DSP, and Interface.js, a GUI toolkit that works with mouse, touch, and motion events. Together they provide a complete system for defining musical instruments that can be used in both desktop and mobile Web browsers. Interface.js also enables control of remote synthesis applications via a server application that translates the socket protocol used by Web interfaces into both MIDI and OSC messages. We have incorporated th

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Clément, Alexandre, and Gilberto Bernardes. "Assessing the Influence of Multimodal Feedback in Mobile-Based Musical Task Performance." Multimodal Technologies and Interaction 6, no. 8 (2022): 68. http://dx.doi.org/10.3390/mti6080068.

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Digital musical instruments have become increasingly prevalent in musical creation and production. Optimizing their usability and, particularly, their expressiveness, has become essential to their study and practice. The absence of multimodal feedback, present in traditional acoustic instruments, has been identified as an obstacle to complete performer–instrument interaction in particular due to the lack of embodied control. Mobile-based digital musical instruments present a particular case by natively providing the possibility of enriching basic auditory feedback with additional multimodal fe

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Lee, Deborah. "Hornbostel-Sachs Classification of Musical Instruments." KNOWLEDGE ORGANIZATION 47, no. 1 (2020): 72. http://dx.doi.org/10.5771/0943-7444-2020-1-72.

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This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal not

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Bown, Oliver, Alice Eldridge, and Jon McCormack. "Understanding Interaction in Contemporary Digital Music: from instruments to behavioural objects." Organised Sound 14, no. 2 (2009): 188–96. http://dx.doi.org/10.1017/s1355771809000296.

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Throughout the short history of interactive digital music, there have been frequent calls for a new language of interaction that incorporates and acknowledges the unique capabilities of the computational medium. In this paper we suggest that a conceptualisation of possible modes of performance–time interaction can only be sensibly approached in light of the ways that computers alter the social–artistic interactions that are precursive to performance. This conceptualisation hinges upon a consideration of the changing roles of composition, performer and instrument in contemporary practice. We in

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Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin." Organised Sound 26, no. 1 (2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.

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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-s

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Petrova, Natalia N. "Digital Musical Performance as the Refl ection of the Axiosphere of Culture and the Educational Space of the Digital Age." ICONI, no. 3 (2020): 87–97. http://dx.doi.org/10.33779/2658-4824.2020.3.087-097.

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The article examines performance on contemporary digital musical instruments, such as the keyboard synthesizer, the digital piano, the digital button and keyboard accordion and others, as a direction of artistic creativity in the contemporary sociocultural space on demand by numerous music lovers and professional performers. Evaluation is given to the possibilities of functioning for electronic musical creativity in the culturalcreative, communicative and educational angles. A phenomenological analysis of performance on electronic musical instruments is carried out and data is provided about t

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Gfeller, Kate, and Charissa R. Lansing. "Melodic, Rhythmic, and Timbral Perception of Adult Cochlear Implant Users." Journal of Speech, Language, and Hearing Research 34, no. 4 (1991): 916–20. http://dx.doi.org/10.1044/jshr.3404.916.

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The purpose of this pilot study was to investigate adult Ineraid and Nucleus cochlear implant (CI) users’ perceptual accuracy for melodic and rhythmic patterns, and quality ratings for different musical instruments. Subjects were 18 postlingually deafened adults with CI experience. Evaluative measures included the Primary Measures of Music Audiation (PMMA) and a Musical Instrument Quality Rating. Performance scores on the PMMA were correlated with speech perception measures, music background, and subject characteristics. Results demonstrated a broad range of perceptual accuracy and quality rat

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Чжоу, Чженьюй. "ОСОБЛИВОСТІ МУЗИЧНОГО ВИХОВАННЯ УЧНІВ У ШКОЛАХ КНР". Педагогіка та психологія, № 60 (15 січня 2019): 148–57. https://doi.org/10.5281/zenodo.2540197.

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On the basis of the analysis of scientific and methodological sources, the peculiarities of musical education in Chinese schools are determined; considered the aim (formation of the spiritual culture of the individuality), content (the assimilation of the foundations of musical literacy, familiarization with the classical world-famous musical works and the ability to classify them; mastering the knowledge that helps sing in the choir and play musical instruments; study biography of famous domestic and foreign musicians, etc.), forms (lessons and after-activity classes in music), methods (empat

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Sofiyanska, Svetlana. "MUSIC IN THE CHILD’S WORLD." Education and Technologies Journal 15, no. 2 (2024): 328–29. http://dx.doi.org/10.26883/2010.242.6154.

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This publication describes an innovative pedagogical practice in the educational subject ‘Music’ on the topic ‘Spring and music’. The musical activities in it are aimed to improve children’s performance skills in five-year-old children in singing, playing with children’s musical instruments, motor reflection of music, as well as strengthening their ideas about the types of musical instruments in terms of appearance and way of sound extraction. Open pedagogical practice is part of the activities of the National Program ‘It’s good in kindergarten’. The use of modern digital educational tools suc

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Chauhan, Parul. "Auditory-Tactile Interaction Using Digital Signal Processing In Musical Instruments." IOSR Journal of VLSI and Signal Processing 2, no. 6 (2013): 08–13. http://dx.doi.org/10.9790/4200-0260813.

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Dickens, Amy, Chris Greenhalgh, and Boriana Koleva. "Facilitating Accessibility in Performance: Participatory Design for Digital Musical Instruments." Journal of the Audio Engineering Society 66, no. 4 (2018): 211–19. http://dx.doi.org/10.17743/jaes.2018.0010.

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Jack, Robert H., Adib Mehrabi, Tony Stockman, and Andrew McPherson. "Action-sound Latency and the Perceived Quality of Digital Musical Instruments." Music Perception 36, no. 1 (2018): 109–28. http://dx.doi.org/10.1525/mp.2018.36.1.109.

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Asynchrony between tactile and auditory feedback (action-sound latency) when playing a musical instrument is widely recognized as disruptive to musical performance. In this paper we present a study that assesses the effects of delayed auditory feedback on the timing accuracy and judgments of instrument quality for two groups of participants: professional percussionists and non-percussionist amateur musicians. The amounts of delay tested in this study are relatively small in comparison to similar studies of auditory delays in a musical context (0 ms, 10 ms, 10 ms ± 3 ms, 20 ms). We found that b

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