Additionally, no standards exist for equating user experience with Fitts’ measures such as movement time, throughput, and error count. To test the hypothesis that a user’s experience can be predicted using Fitts’ measures of movement time, throughput and error count, an ease of use rating using a 5-point scale for each input type was collected from each participant. The calculated Mean Opinion Scores (MOS) were regressed on Fitts’ measures of movement time, throughput, and error count to understand the extent to which they can predict a user’s subjective rating.
In this paper, I propose that taking an embodied approach to music performance can allow for better gestural control over the live sound produced and greater connection between the performer and their audience. I examine the many possibilities of live electronic manipulation of the voice such as those employed by past and current vocalists who specialize in live electronic sound manipulation and improvisation. Through extensive research and instrument design, I have sought to produce something that will benefit me in my performances as a vocalist and help me step out from the boundaries of traditional music performance. I will discuss the techniques used for the creation of my gestural instrument through the lens of my experiences as a performer using these tools. I believe that, through use of movement and gesture in the creation and control of sound, it is more than possible to step away from conventional ideas of live vocal performance and create something new and unique, especially through the inclusion of improvisation.