The carillon and its haptic signature : modeling the changing force-feedback constraints of a musical instrument for haptic display
This conference paper was originally published as Havryliv, M, Geiger, F, Gurtler, M, Naghdy, F and Schiemer, G, The carillon and its haptic signature : modeling the changing force-feedback constraints of a musical instrument for haptic display, Proceedings of 4th International Conference, Haptic and Audio Interaction Design 2009, Dresden, Germany, September 2009. M. Ercan Altinsoy, Ute Jekosch and Stephen Brewster (Eds.). Springer-Verlag Lecture Notes in Computer Science, 5763, pp. 91-99. The original publication is available at here
The carillon is one of the few instruments that elicits sophisticated haptic interaction from amateur and professional players alike. Like the piano keyboard, the velocity of a player’s impact on each carillon key, or baton, affects the quality of the resultant tone; unlike the piano, each carillon baton returns a different force-feedback. Force-feedback varies widely from one baton to the next across the entire range of the instrument and with further idiosyncratic variation from one instrument to another. This makes the carillon an ideal candidate for haptic simulation. The application of synthesized forcefeedback based on an analysis of forces operating in a typical carillon mechanism offers a blueprint for the design of an electronic practice clavier and with it the solution to a problem that has vexed carillonneurs for centuries, namely the inability to rehearse repertoire in private. This paper will focus on design and implementation of a haptic carillon clavier derived from an analysis of the Australian National Carillon in Canberra.
M. Havryliv, F. Geiger, M. Gurtler, F. Naghdy, and G. Schiemer. "The carillon and its haptic signature : modeling the changing force-feedback constraints of a musical instrument for haptic display" Faculty of Creative Arts - Papers.. Sep. 2009.
Available at: http://works.bepress.com/gschiemer/15