Location via proxy:   [ UP ]  
[Report a bug]   [Manage cookies]                
skip to main content
10.1145/3678299.3678321acmotherconferencesArticle/Chapter ViewAbstractPublication PagesamConference Proceedingsconference-collections
research-article
Open access

Tonal Cognition in Sonification: Exploring the Needs of Practitioners in Sonic Interaction Design

Published: 18 September 2024 Publication History

Abstract

Research into tonal music examines the structural relationships among sounds and how they align with our auditory perception. The exploration of integrating tonal cognition into sonic interaction design, particularly for practitioners lacking extensive musical knowledge, and developing an accessible software tool, remains limited. We report on a study of designers to understand the sound creation practices of industry experts and explore how infusing tonal music principles into a sound design tool can better support their craft and enhance the sonic experiences they create. Our study collected qualitative data through semi-structured individual and focus group interviews with six participants. We developed a low-fidelity prototype sound design tool that involves practical methods of functional harmony and interaction design discussed in focus groups. We identified four themes through reflexive thematic analysis: decision-making, domain knowledge and terminology, collaboration, and contexts in sound creation. Finally, we discussed design considerations for an accessible sonic interaction design tool that aligns auditory experience more closely with tonal cognition.

References

[1]
David Bernstein. 2002. Nineteenth-century harmonic theory: the Austro-German legacy. Cambridge University Press, 778–811.
[2]
Emmanuel Bigand and Bénédicte Poulin-Charronnat. 2016. Tonal cognition. The Oxford handbook of music psychology (2016), 95–111.
[3]
Meera M. Blattner, Denise A. Sumikawa, and Robert M. Greenberg. 1989. Earcons and Icons: Their Structure and Common Design Principles. Human–Computer Interaction 4, 1 (1989), 11–44. https://doi.org/10.1207/s15327051hci0401_1
[4]
Jorge Boehringer, Marcin Pietruszewski, John Bowers, Bennett Hogg, Joseph Newbold, Gerriet Sharma, Tim Shaw, and Paul Vickers. 2022. Listener-centred Sonification Practice as Transdisciplinary Experimental Artistic Engagement. (2022).
[5]
Stephen A Brewster. 1998. Using nonspeech sounds to provide navigation cues. ACM Transactions on Computer-Human Interaction (TOCHI) 5, 3 (1998), 224–259.
[6]
Stephen A Brewster, Peter C Wright, and Alastair DN Edwards. 1994. A detailed investigation into the effectiveness of earcons. In SANTA FE INSTITUTE STUDIES IN THE SCIENCES OF COMPLEXITY-PROCEEDINGS VOLUME-, Vol. 18. Addison-Wesley Publishing CO, 471–471.
[7]
Stephen A Brewster, Peter C Wright, and Alistair DN Edwards. 1995. Experimentally derived guidelines for the creation of earcons. In Adjunct Proceedings of HCI, Vol. 95. 155–159.
[8]
J Peter Burkholder, Donald Jay Grout, and Claude V Palisca. 2019. A history of western music. WW Norton & Company.
[9]
Edward Burnell, Michael Stern, Ana Flooks, and Maria C Yang. 2017. Integrating design and optimization tools: a designer centered study. In International Design Engineering Technical Conferences and Computers and Information in Engineering Conference, Vol. 58219. American Society of Mechanical Engineers, V007T06A029.
[10]
Minsik Choi. 2023. Music theoretical approach to auditory interface design: progressive, explainable, and accessible. In Proceedings of the 15th Conference on Creativity and Cognition. 39–42.
[11]
Thomas Christensen. 2006. The Cambridge history of Western music theory. Cambridge University Press.
[12]
Brent Clement. 2023. Rock Tonality Amplified: A Theory of Modality, Harmonic Function, and Tonal Hierarchy. Routledge. https://doi.org/10.4324/9781003300236
[13]
Jaap Daalhuizen, Petra Badke-Schaub, and Stephen Batill. 2009. Dealing with uncertainty in design practice: issues for designer-centered methodology. Vol. 9. Design Society, 147–158. http://www.designsociety.org/iced09_17th_international_conference_on_engineering_design.event.62.2009-08-24.htm 17th International Conference on Engineering Design, ICED09 ; Conference date: 24-08-2009 Through 27-08-2009.
[14]
Dan Diaper and Neville Stanton. 2003. The handbook of task analysis for human-computer interaction. CRC Press.
[15]
Karmen Franinovic and Stefania Serafin. 2013. Sonic interaction design. Mit Press.
[16]
Robert Gauldin. 2004. Harmonic Practice in Tonal Music (2nd ed.). W.W. Norton.
[17]
William W. Gaver. 1986. Auditory Icons: Using Sound in Computer Interfaces. Hum.-Comput. Interact. 2, 2 (jun 1986), 167–177. https://doi.org/10.1207/s15327051hci0202_3
[18]
William W Gaver. 1989. The SonicFinder: An interface that uses auditory icons. Human–Computer Interaction 4, 1 (1989), 67–94.
[19]
Thomas Hermann, Andy Hunt, John G Neuhoff, 2011. The sonification handbook. Vol. 1. Logos Verlag Berlin.
[20]
Myounghoon Jeon, Areti Andreopoulou, and Brian FG Katz. 2020. Auditory displays and auditory user interfaces: art, design, science, and research. Journal on Multimodal User Interfaces 14 (2020), 139–141.
[21]
Purnima Kamath, Fabio Morreale, Priambudi Lintang Bagaskara, Yize Wei, and Suranga Nanayakkara. 2024. Sound Designer-Generative AI Interactions: Towards Designing Creative Support Tools for Professional Sound Designers. In Proceedings of the CHI Conference on Human Factors in Computing Systems (, Honolulu, HI, USA,) (CHI ’24). Association for Computing Machinery, New York, NY, USA, Article 730, 17 pages. https://doi.org/10.1145/3613904.3642040
[22]
Stefan Koelsch. 2013. Brain and Music. John Wiley & Sons.
[23]
Marina Korsakova-Kreyn. 2018. Two-level model of embodied cognition in music.Psychomusicology: Music, Mind, and Brain 28, 4 (2018), 240.
[24]
Marc Leman. 2008. Embodied music cognition and mediation technology. MIT press.
[25]
Ronnie Lipton. 2011. The practical guide to information design. John Wiley & Sons.
[26]
Indrani Medhi. 2007. User-centered design for development. interactions 14, 4 (2007), 12–14.
[27]
Frederik Moesgaard, Lasse Hulgaard, and Mads Bødker. 2020. Involving Users in Sound Design. In Design, User Experience, and Usability. Interaction Design: 9th International Conference, DUXU 2020, Held as Part of the 22nd HCI International Conference, HCII 2020, Copenhagen, Denmark, July 19–24, 2020, Proceedings, Part I 22. Springer, 405–425.
[28]
J Newbold, N Gold, and NL Bianchi-Berthouze. 2017. Musical expectancy in squat sonification for people who struggle with physical activity. In ICAD’17, Vol. 23. ICAD’17, 65–72.
[29]
Joseph Newbold, Nicolas E Gold, and Nadia Bianchi-Berthouze. 2020. Movement sonification expectancy model: Leveraging musical expectancy theory to create movement-altering sonifications. Journal on Multimodal User Interfaces 14 (2020), 153–166.
[30]
Joseph W. Newbold, Nadia Bianchi-Berthouze, Nicolas E. Gold, Ana Tajadura-Jiménez, and Amanda CdC Williams. 2016. Musically Informed Sonification for Chronic Pain Rehabilitation: Facilitating Progress & Avoiding Over-Doing. In Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems (San Jose, California, USA) (CHI ’16). Association for Computing Machinery, New York, NY, USA, 5698–5703. https://doi.org/10.1145/2858036.2858302
[31]
Don Norman. 2013. The design of everyday things: Revised and expanded edition. Basic books.
[32]
Stephen Roddy and Brian Bridges. 2020. Mapping for meaning: the embodied sonification listening model and its implications for the mapping problem in sonic information design. Journal on Multimodal User Interfaces 14, 2 (2020), 143–151.
[33]
Yvonne Rogers, Helen Sharp, and Jenny Preece. 2011. Interaction Design: Beyond Human-Computer Interaction (3rd ed.). John Wiley & Sons.
[34]
Kalpna Sagar and Anju Saha. 2017. A systematic review of software usability studies. International Journal of Information Technology (2017), 1–24.
[35]
Carla Scaletti. 2018. Sonification ≠ Music. In The Oxford Handbook of Algorithmic Music, Roger T. Dean and Alex McLean (Eds.). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780190226992.013.9 Online edition, Oxford Academic, 5 Feb. 2018.
[36]
Rod Selfridge and Sandra Pauletto. 2022. Sound design ideation: comparing four sound designers’ approaches. In 19th Sound and Music Computing Conference, June 5-12th, 2022, Saint-Étienne (France).
[37]
Stefania Serafin, Bill Buxton, Bill Gaver, and Sara Bly. 2022. Auditory Interfaces. Focal Press.
[38]
Neville A Stanton. 2006. Hierarchical task analysis: Developments, applications, and extensions. Applied ergonomics 37, 1 (2006), 55–79.
[39]
Neville A Stanton, Paul M Salmon, Laura A Rafferty, Guy H Walker, Chris Baber, and Daniel P Jenkins. 2017. Human factors methods: a practical guide for engineering and design. CRC Press.
[40]
Gareth Terry and Nikki Hayfield. 2021. Essentials of thematic analysis.American Psychological Association.
[41]
Paul Vickers. 2016. Sonification and music, music and sonification. In The Routledge Companion to Sounding Art. Routledge, 135–144.
[42]
Daniel Wallach and Sebastian C. Scholz. 2012. User-Centered Design: Why and How to Put Users First in Software Development. In Software for People, Alexander Maedche, Andreas Botzenhardt, and Lars Neer (Eds.). Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-31371-4_2

Index Terms

  1. Tonal Cognition in Sonification: Exploring the Needs of Practitioners in Sonic Interaction Design

      Recommendations

      Comments

      Information & Contributors

      Information

      Published In

      cover image ACM Other conferences
      AM '24: Proceedings of the 19th International Audio Mostly Conference: Explorations in Sonic Cultures
      September 2024
      565 pages
      ISBN:9798400709685
      DOI:10.1145/3678299
      This work is licensed under a Creative Commons Attribution International 4.0 License.

      Publisher

      Association for Computing Machinery

      New York, NY, United States

      Publication History

      Published: 18 September 2024

      Check for updates

      Author Tags

      1. auditory display
      2. creativity support tools
      3. embodied music cognition
      4. sonic interaction design
      5. tonal cognition
      6. user-centered design

      Qualifiers

      • Research-article
      • Research
      • Refereed limited

      Conference

      AM '24

      Acceptance Rates

      Overall Acceptance Rate 177 of 275 submissions, 64%

      Contributors

      Other Metrics

      Bibliometrics & Citations

      Bibliometrics

      Article Metrics

      • 0
        Total Citations
      • 73
        Total Downloads
      • Downloads (Last 12 months)73
      • Downloads (Last 6 weeks)53
      Reflects downloads up to 10 Nov 2024

      Other Metrics

      Citations

      View Options

      View options

      PDF

      View or Download as a PDF file.

      PDF

      eReader

      View online with eReader.

      eReader

      HTML Format

      View this article in HTML Format.

      HTML Format

      Get Access

      Login options

      Media

      Figures

      Other

      Tables

      Share

      Share

      Share this Publication link

      Share on social media