PHYSICAL AND APPLIED ACOUSTICS
CONTENTS MUSICAL HAPTICS: INTRODUCTION PART I MUSICAL HAPTICS: INTERACTION AND PERCEPTION ONCE MORE, WITH FEELING: REVISITING THE ROLE OF TOUCH IN PERFORMER-INSTRUMENT INTERACTION A BRIEF OVERVIEW OF THE HUMAN SOMATOSENSORY SYSTEM PERCEPTION OF VIBROTACTILE CUES IN MUSICAL PERFORMANCE THE ROLE OF HAPTIC CUES IN MUSICAL INSTRUMENT QUALITY PERCEPTION A FUNCTIONAL ANALYSIS OF HAPTIC FEEDBACK IN DIGITAL MUSICAL INSTRUMENT INTERACTIONS AUDITORY-TACTILE EXPERIENCE OF MUSIC PART II HAPTIC MUSICAL INTERFACES: DESIGN AND APPLICATIONS THE MSCI PLATFORM: A FRAMEWORK FOR THE DESIGN AND SIMULATION OF MULTISENSORY VIRTUAL MUSICAL INSTRUMENTS FORCE-FEEDBACK INSTRUMENTS FOR THE LAPTOP ORCHESTRA OF LOUISIANA DESIGN OF VIBROTACTILE FEEDBACK AND STIMULATION FOR MUSIC PERFORMANCE HAPTICS FOR THE DEVELOPMENT OF FUNDAMENTAL RHYTHM SKILLS, INCLUDING MULTI-LIMB COORDINATION 12 TOUCHSCREENS AND MUSICAL INTERACTION IMPLEMENTATION AND CHARACTERIZATION OF VIBROTACTILE INTERFACES PHYSICAL AND APPLIED ACOUSTICS CHAPTER HAPTIC CUES IN MUSIC PRACTICE AND FRUITION WHENEVER AN ACOUSTIC OR ELECTROACOUSTIC MUSICAL INSTRUMENT PRODUCES SOUND, THAT COMES FROM ITS VIBRATING COMPONENTS (E G , THE REED AND AIR COLUMN IN A CLARINET, OR THE STRINGS AND SOUNDBOARD OF A PIANO) WHILE PERFORMING ON SUCH INSTRUMENTS, THE HAPTICCHANNELISINVOLVEDINACOMPLEXACTION–PERCEPTIONLOOP:THEPLAYERPHYSICALLY INTERACTSWITHTHEINSTRUMENT,ONTHEONEHAND,TOGENERATESOUNDBYINJECTINGENERGYIN