- List of Common Acronyms Found in the <i>Handbook</i>
- List of Software Found in the <i>Handbook</i>
- List of Games Found in the <i>Handbook</i>
- List of Contributors
- About the Companion Website
- Spatial Reconfiguration in Interactive Video Art
- Navigating Sound: Locative and Translocational Approaches to Interactive Audio
- Defining Sound Toys: Play as Composition
- Thinking More Dynamically about Using Sound to Enhance Learning from Instructional Technologies
- Acoustic Scenography and Interactive Audio: Sound Design for Built Environments
- The Unanswered Question of Musical Meaning: A Cross-domain Approach
- How Can Interactive Music be Used in Virtual Worlds Like <i>World of Warcraft</i>?
- Sound and the Videoludic Experience
- Designing a Game for Music: Integrated Design Approaches for Ludic Music and Interactivity
- Worlds of Music: Strategies for Creating Music-based Experiences in Videogames
- Embodied Virtual Acoustic Ecologies of Computer Games
- A Cognitive Approach to the Emotional Function of Game Sound
- The Sound of Being There: Presence and Interactive Audio in Immersive Virtual Reality
- Sonic Interactions in Multimodal Environments: An Overview
- Musical Interaction for Health Improvement
- Engagement, Immersion and Presence: The Role of Audio Interactivity in Location-aware Sound Design
- Multisensory Musicality in <i>Dance Central</i>
- Interactivity and Liveness in Electroacoustic Concert Music
- Skill in Interactive Digital Music Systems
- Gesture in the Design of Interactive Sound Models
- Virtual Musicians and Machine Learning
- Musical Behavior and Amergence in Technoetic and Media Arts
- Flow of Creative Interaction with Digital Music Notations
- Blurring Boundaries: Trends and Implications in Audio Production Software Developments
- Delivering Interactive Experiences through the Emotional Adaptation of Automatically Composed Music
- A Review of Interactive Sound in Computer Games: Can Sound Affect the Motoric Behavior of a Player?
- Interactive Spectral Processing of Musical Audio
- Let’s Mix it Up: Interviews Exploring the Practical and Technical Challenges of Interactive Mixing in Games
- Our Interactive Audio Future
- For the Love of Chiptune
- Procedural Audio Theory and Practice
- Live Electronic Preparation: Interactive Timbral Practice
- New Tools for Interactive Audio, and What Good they Do
Abstract and Keywords
This chapter highlights disjunctions between usability approaches and the needs of creative music practices, drawing on research into creativity and human–computer interaction (HCI) to integrate concepts of flow, virtuosity, and liveness into the design of digital notations. While computers support the production and transcription of creative ideas, current user interfaces are less suited to exploratory creativity, sketching, and the early stages of the creative process. The chapter discusses properties of interfaces and notations that influence such support. It then presents both a set of usability heuristics for virtuosity, to aid the design of user interfaces supporting skill and learning, and a technique for modeling aspects of flow and liveness within the creative user experience, emphasizing user focus and system feedback. Findings and theories are discussed in the context of examples from desktop and studio music software, such as sequencers and trackers, but they can also be generalized to other scenarios in digital creativity.
Chris Nash is a professional programmer and composer, who completed his PhD on music HCI at the University of Cambridge. His research looks at theoretical and analytical methods for modeling and designing interfaces for composition, supported by a longitudinal study of over 1,000 DAW users, empirically investigating user experience with respect to flow, learning, virtuosity, creativity, and liveness. His work has attracted interest from Yamaha, Cakewalk, and Steinberg, whom he joined for 6 months in 2009. Around his research, he is the developer of the award-winning reViSiT plugin, and has written music for TV and radio, including the BBC.
Alan Blackwell is Reader in Interdisciplinary Design at the University of Cambridge Computer Laboratory. He is an authority on visual representation and notation, especially with regard to the usability of programming languages. He collaborates regularly with music researchers, especially through Cambridge’s Centre for Music and Science, and has a specific research interest in notations for artistic production and performance, working with a wide range of contemporary choreographers and composers. Together with his students and collaborators, he has a long-standing interest in the tools and practices of Live Coding.
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