{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/115455"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/115455","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Auditory kinesthesia: A framework to facilitate the design and performance of interactive music systems","abstract":"Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","abstract_html":"Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","abstract_has_math":false,"creators":["Ingebritsen, Ryan"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Informatics","degree_department":null,"school":null,"contributors":["Taylor, Stephen","Toenjes, John","Bradley, Rachael","Lindgren, Robb"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022-05","date_published":"2022-05","updated_at":"2026-07-22T22:24:54Z","subjects":["Interactive Music Systems","Interactive Music","Electronic Music","kinesthetic empathy","kinesthetic interaction","usability","interactive instrument design","interdisciplinary art","electronic instrument design","interface design","electronic music performance"],"languages":["en","eng"],"rights":["Copyright 2022 Ryan Ingebritsen"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/2142/115455","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Taylor, Stephen","Toenjes, John","Bradley, Rachael","Lindgren, Robb"]},{"key":"dc:creator","label":"Author","values":["Ingebritsen, Ryan"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2022-05","2022-04-15"]},{"key":"dc:type","label":"Dc Type","values":["text","Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Informatics"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Interactive Music Systems","Interactive Music","Electronic Music","kinesthetic empathy","kinesthetic interaction","usability","interactive instrument design","interdisciplinary art","electronic instrument design","interface design","electronic music performance"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en","eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2022 Ryan Ingebritsen"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://hdl.handle.net/2142/115455"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","The student, Ryan Ingebritsen, accepted the attached license on 2022-04-14 at 09:22.","The student, Ryan Ingebritsen, submitted this Dissertation for approval on 2022-04-14 at 12:11.","This Dissertation was approved for publication on 2022-04-15 at 16:39.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17667 on 2022-11-11 at 13:15:14","One of the major frustrations in the performance of interactive music is the lack of consistent mapping and physical connection between tactile gesture and sonic response that is apparent when performing on a physical instrument. The bulk of the literature on interactive music systems focuses on the design and execution of the system itself, referencing the experience of the performer only in the context of measuring the system’s efficacy. Historically, the term implies a system in which the user perceives a second mechanical player rather than a system that becomes an extension of the performer’s instrumentality. In this work, I will investigate this second interpretation of interactive music system, focusing on systems that extend the expression and instrumentality of the performer or performers. My goal is to develop strategies to help inform all practitioners, including performers, designers, and creators - including but not limited to composers - to create and engage more meaningfully with these kinds of interactive music systems. To do this, I will investigate fields such as usability engineering, embodied learning, kinesthetic interaction, and cognitive psychology. By defining basic kinesthetic concepts, and using these definitions as criteria to inform the design and use of interactive music systems, I will show that it is possible to instill performers with a sense of consistent mapping and expressive freedom when performing using interactive musical instruments. From this research, I will propose a framework to inform the design and performer training of such systems. I will also investigate ways in which performers can develop fundamental skills to find and recall this consistent mapping, as well as recognizing “virtuosity” in interactive performance."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Auditory kinesthesia: A framework to facilitate the design and performance of interactive music systems"]}]}],"canonical_facts":{"dc:contributor":["Taylor, Stephen","Toenjes, John","Bradley, Rachael","Lindgren, Robb"],"dc:creator":["Ingebritsen, Ryan"],"dc:date":["2022-05","2022-04-15"],"dc:description":["Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","The student, Ryan Ingebritsen, accepted the attached license on 2022-04-14 at 09:22.","The student, Ryan Ingebritsen, submitted this Dissertation for approval on 2022-04-14 at 12:11.","This Dissertation was approved for publication on 2022-04-15 at 16:39.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17667 on 2022-11-11 at 13:15:14","One of the major frustrations in the performance of interactive music is the lack of consistent mapping and physical connection between tactile gesture and sonic response that is apparent when performing on a physical instrument. The bulk of the literature on interactive music systems focuses on the design and execution of the system itself, referencing the experience of the performer only in the context of measuring the system’s efficacy. Historically, the term implies a system in which the user perceives a second mechanical player rather than a system that becomes an extension of the performer’s instrumentality. In this work, I will investigate this second interpretation of interactive music system, focusing on systems that extend the expression and instrumentality of the performer or performers. My goal is to develop strategies to help inform all practitioners, including performers, designers, and creators - including but not limited to composers - to create and engage more meaningfully with these kinds of interactive music systems. To do this, I will investigate fields such as usability engineering, embodied learning, kinesthetic interaction, and cognitive psychology. By defining basic kinesthetic concepts, and using these definitions as criteria to inform the design and use of interactive music systems, I will show that it is possible to instill performers with a sense of consistent mapping and expressive freedom when performing using interactive musical instruments. From this research, I will propose a framework to inform the design and performer training of such systems. I will also investigate ways in which performers can develop fundamental skills to find and recall this consistent mapping, as well as recognizing “virtuosity” in interactive performance."],"dc:format":["application/pdf"],"dc:identifier":["https://hdl.handle.net/2142/115455"],"dc:language":["en","eng"],"dc:rights":["Copyright 2022 Ryan Ingebritsen"],"dc:subject":["Interactive Music Systems","Interactive Music","Electronic Music","kinesthetic empathy","kinesthetic interaction","usability","interactive instrument design","interdisciplinary art","electronic instrument design","interface design","electronic music performance"],"dc:title":["Auditory kinesthesia: A framework to facilitate the design and performance of interactive music systems"],"dc:type":["text","Thesis"],"thesis:degree_discipline":["Informatics"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Ph.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:24:54Z"}