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Augmented Reality Visualization for Musical Instrument Learning

Frank Heyen, Michael Sedlmair

Abstract

We contribute two design studies for augmented reality visualizations that support learning musical instruments. First, we designed simple, glanceable encodings for drum kits, which we display through a projector. As second instrument, we chose guitar and designed visualizations to be displayed either on a screen as an augmented mirror or as an optical see-through AR headset. These modalities allow us to also show information around the instrument and in 3D. We evaluated our prototypes through case studies and our results demonstrate the general effectivity and revealed design-related and technical limitations.

Augmented Reality Visualization for Musical Instrument Learning

Abstract

We contribute two design studies for augmented reality visualizations that support learning musical instruments. First, we designed simple, glanceable encodings for drum kits, which we display through a projector. As second instrument, we chose guitar and designed visualizations to be displayed either on a screen as an augmented mirror or as an optical see-through AR headset. These modalities allow us to also show information around the instrument and in 3D. We evaluated our prototypes through case studies and our results demonstrate the general effectivity and revealed design-related and technical limitations.
Paper Structure (7 sections, 5 figures)

This paper contains 7 sections, 5 figures.

Figures (5)

  • Figure 1: The two augmented reality setups we explored: Left: Using a projector on a tripod, we display visualizations on the pads of a drum kit. Right: A user wearing an optical see-through AR headset sees visualizations on a guitar's fretboard.
  • Figure 2: Comparison of drum visualizations.
  • Figure 3: Visualizations can be flat and simple, as these bar and pie charts, or 3D like the stacked bars in \ref{['fig:teaser']}.
  • Figure 4: As we are using a screen as mirror or an HMD, we can display information not only on, but also around the instrument. In this example, juxtaposed multiple views of different exercise recordings allow comparison.
  • Figure :