![]() ![]() On vibration sensation and finger touch in stringed instrument playing. ![]() In Proceedings of the Stockholm Musical Acoustics Conference, Stockholm, Sweden, 28 July–1 August 1993 pp. Observations on the transient components of the piano tone. Tactile feedback and timing accuracy in piano performance. ![]() Effect of dynamic vibrotactile feedback on the control of isometric finger force. In Musical Haptics Springer: Berlin, Germany, 2018 pp. Once more, with feeling: Revisiting the role of touch in performer-instrument interaction. We could not generalize such a relation with the data of the presented experiment. Finally, an analysis on a note-by-note basis could clarify if, for example, the vibrotactile feedback of a long-lasting bass note helps the precise control of the dynamics in subsequent keystrokes. Future studies might also include multiple experiments over a certain range of time to exclude influences of physical and mental state on the day of testing. This could help to identify groups reacting similarly to key vibrations. For future studies, we suggest to include a larger number of participants. Furthermore, the basic results of Ahmaniemi, that vibrotactile feedback assists the precise control of finger forces could not be confirmed in our case. We can not exclude that such an influence exists but with the proposed measures, “amount of adaption” and repeatability, we could not measure such a relation. We did not find systematic differences by analyzing the influence of the vibration levels on the timing and dynamics accuracy of the pianists’ musical performances. Furthermore, Goebl and Palmer demonstrated that tactile sensations from the finger-key surface interaction support some pianists to improve timing accuracy and precision of finger movements. Vibrotactile feedback can support the precise control of finger force, as shown by Ahmaniemi with a basic force repetition experiment on a rigid sensor box. This closed-loop model implies that if the instrument’s feedback is altered, the pianist will adapt his or her playing to compensate for and retain the desired instrument behavior. The interaction with a musical instrument can be modeled as a feedback controller, where the musician’s brain controls his or her body, arms, and fingers to modify the instrument’s behavior based on changes in sensory inputs. There are four main musician-musical instrument interaction modalities: visual feedback, auditory feedback, force feedback, and vibrotactile feedback. Playing the piano is a complex multi-modal task, where the pianist controls the instrument through his or her intention and perceived instrument feedback. ![]()
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