Issues and techniques for collaborative music
making on multi-touch surfaces
Visiting Research Student
Centre for Research in Computing
Supervisor: Robin Laney
CRC PhD Student Conference 2010
The Open University
• Dr Robin Laney (Open University)
• Chris Dobbyn (Open University)
• Anna Xambó (Universitat Pompeu Fabra)
• Mattia Schirosa (Universitat Pompeu Fabra)
• Prof Dorothy Miell (University of Edinburgh)
• Prof Karen Littleton (Open University)
• Sheep Dalton (Open University)
• In collaboration with the MK Art Gallery (2009).
• Simple multi-touch music prototype.
• Pre-composed materials.
Active sample loop
1 Bass line
2 Drum line
3 Keyboard line
4 Percussion line
Interface diagram. Four users playing with the prototype.
• What aspects maximize collaboration for a particular user group?
• How can we evaluate effectively music creation systems that support
collaboration on tabletop surfaces?
• How can we design systematically music creation systems that support
collaboration on tabletop surfaces?
• Improved collaboration can help in many contexts of music making
(composition, performance, improvisation or musical education).
• Interaction concepts applicable to other creative domains (gaming,
• Evaluation of NIME using HCI methods is considered a novel and promising
field of research.
Musical multi-touch surfaces
• Audiopad , 2002, selection and edition of loops.
• Reactable [2, 3], 2004, modular synthesizer.
• Composition on the Table , 1998, audio-visual creation.
• Stereotronic Multi-Synth Orchestra , 2009, concentric seq.
• Understanding creativity
• Psychological perspective of “flow” or full immersion in an activity
(Csikszentmihalyi ); the experience of fun and pleasure (Blythe and
• Creativity in group
• In the collective music composition attunement to others’ contributions
(Bryan-Kinss et al. ); “flow” extended to group productivity (Sawyer ).
• Multi-user instruments (, , )
• Shared vs. local control; complexity vs. simplicity.
• Multi-touch interaction )
• Discrete vs. continuous actions; display size; sense of touch; multiplicity.
• Iterative process: Design -> Evaluation -> Design
• User study
• Participants: 12 people, 3 groups of 4 users (music skills: G1=16/20, G2=8/20, G3=9/20).
• Video recordings: 3 musical tasks + informal discussion.
• Data analysis
• Open coding (derived from GT ).
• Structured coding (derived from qualitative CA ).
Findings from OC
• Awareness of others; visual feedback; decision making.
• Musical aesthetics
• Emotiveness; playfulness.
• Learning process
• Easiness vs. difficulty.
• System design
• Responsiveness; individual expressivity.
Findings from structured coding
• Codes used
• Codes from : tangible manipulation (consistent physical-digital), spatial
interaction, embodied facilitation (affordances), expressive representation
• Codes from : mutual awareness, shared representations (collective
legibility), mutual modifiability (level of democracy), annotation (opinions).
• Consistent evidence: some content already discussed in the OC.
• New: multiple access points; shareable controls; conversations.
Findings from questionnaire
• Q1. I felt we operated as a team. !" $'**
• Q2. I felt part of a collaborative
• Q3. It was difficult to play. !% %'&*
• Q4. I enjoyed the music making task.
" +,-./011 # $ % 2/011 &
Averages for the 5 statements.
• Q5. I concentrated intensely on the
• In general
• A simple (and constrained) prototype can be highly engaging (mainly for novices).
• This evaluation method provide us evidence of creative engagement.
• This approach can help us improve the prototype design (participatory design).
• In particular
• Roles: no dominant figure emerged, one or another took the lead.
• Conversation: The prototype strongly facilitated conversation (group
• Better responsiveness
• Responsiveness-emotiveness; audiovisual feedback.
• Adding shared controls
• Support of both shared and individual controls.
• Adding features
• Balance complexity-simplicity (experts and novices).
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 http://www.fashionbuddha.com/, 15/3/2010.
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