Evaluating Musical Software Using Conceptual Metaphors

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1 Evaluating Musical Sftware Using Cnceptual Metaphrs Katie Wilkie Centre fr Research in Cmputing Open University Miltn Keynes, MK7 6AA +44 (0) Simn Hlland The Cmputing Department Open University Miltn Keynes, MK7 6AA +44 (0) Paul Mulhlland Knwledge Media Institute Open University Miltn Keynes, MK7 6AA +44 (0) ABSTRACT An pen challenge fr interactin designers is t find ways f designing sftware t enhance the ability f nvices t perfrm tasks that nrmally require specialized dmain expertise. This challenge is particularly demanding in areas such as music analysis, where cmplex, abstract, dmain-specific cncepts and ntatins ccur. One prmising theretical fundatin fr this wrk invlves the identificatin f cnceptual metaphrs and image schemas, fund by analyzing discurse. This kind f analysis has already been applied, with sme success, bth t musical cncepts and, separately, t user interface design. The present wrk appears t be the first t cmbine these hithert distinct bdies f research, with the aim f devising a general methd fr imprving user interfaces fr music. Sme areas where this may require extensins t existing methd are nted. This paper presents the results f an explratry evaluatin f Harmny Space, a tl fr playing, analysing and learning abut harmny. The evaluatin uses cnceptual metaphrs and image schemas elicited frm the dialgues f experienced musicians discussing the harmnic prgressins in a piece f music. Examples f where the user interface supprts the cnceptual metaphrs, and where supprt culd be imprved, are discussed. The ptential use f audi utput t supprt cnceptual metaphrs and image schemas is cnsidered. Categries and Subject Descriptrs H5.2. Infrmatin interfaces and presentatin (e.g., HCI): User Interfaces: Thery and methds. General Terms Design, Human Factrs, Thery. Keywrds Embdied cgnitin, image schemas, cnceptual metaphrs, user interface design, tnal harmny, Harmny Space. Published in Prceedings f the 2009 British Cmputer Sciety Cnference n Human-Cmputer Interactin, BCS-HCI 2009, Cambridge, United Kingdm, 1-5 September ACM Katie Wilkie, Simn Hlland and Paul Mulhlland. Online prceedings - This paper nline at 1. INTRODUCTION Music is an intrinsic part f ur culture. It is used t aid relaxatin; reflect the md f scial situatins; as an accmpaniment t religius services; and t enhance the appeal f interactin designs thrugh incrprating audi utput as part f the interactin mdel - fr example when mving a file t the trash can. Pervasive thugh music is, technical understanding f the medium and specifically hw it is cnstructed, is usually restricted t thse with specialist dmain knwledge. Harmnic prgressin in particular is a difficult cncept t grasp as it invlves knwledge f dmain-specific terminlgy and ntatin. Hwever, if we can establish a means by which we can translate the specialist knwledge used by dmain experts when analysing an excerpt f music int a user interface which effectively cmmunicates this infrmatin, expliting pre-existing embdied knwledge and experience, it may be pssible t systematically imprve the quality f interactin designs t better supprt the transitin frm nvice t dmain expert. One prmising thery fr analysing abstract cncepts such as harmnic prgressin uses the cnceptual metaphrs expsed thrugh language t identify a number f cnstructs named image schemas. These image schemas, characterised by Jhnsn as "recurring patterns f ur sensry-mtr experience", prvide peple with the ability t structure abstract cncepts by applying perceptins f their sensry-mtr experiences f space, rientatin, frces and interactins with ther bdies t different dmains [8]. Hurtienne and Blessing [5] have cncluded that designing interactins which cnfrm t simple cnceptual metaphrs such as MORE IS UP - a metaphrical extensin f the UP-DOWN image schema - appears t lead t a mre intuitive interactin mdel. Mre recent wrk by Hurtienne, Israel and Weber cncluded that identifying the image schemas elicited thrugh the cntext-f-use-analysis helped t fcus the design prcess n the essential user interface requirements [7]. We hypthesise that if we can establish the cnceptual metaphrs used by dmain experts when discussing harmnic prgressin in an excerpt f music, we can use these metaphrs and their cnstituent image schemas t identify imprvements t user interfaces fr analysing harmnic prgressin. This paper presents the results f an explratry evaluatin f Harmny Space, a tl fr playing, analysing and learning abut harmny [2]. The gal f the evaluatin is t establish the extent t which Harmny Space supprts the cnceptual metaphrs and image schemas used by experienced musicians when engaged in the task f analysing a shrt excerpt f music. Examples f where the user interface supprts the cnceptual metaphrs, and where supprt can be imprved, will be discussed, and the ptential use

2 f audi utput t supprt cnceptual metaphrs and image schemas will be cnsidered. 2. BACKGROUND Increasing evidence exists t supprt the central claim f embdied cgnitin therists; namely that the interactins between ur bdies and the envirnment in which they exist play an imprtant rle in the develpment f cgnitive abilities [12]. Hwever, the physilgical prperties f the bdy are nt slely respnsible fr the develpment f the embdied mind; the scial and cultural envirnment in which the bdy is situated als plays a significant rle by prviding additinal cntextual infrmatin which can affect the prcessing f perceptual stimuli [12]. Language, an inherent part f ur cultural and scial heritage, plays a substantial rle in cgnitin. Analysis f spatial expressins used in language has identified the imprtance f repeating patterns f bdily experience named image schemas in the develpment f linguistic and cnceptual mdels [13]. One cncept prevalent in language is that f ne bject cntaining anther. Fr example the phrases put the tys in the bx, he walked int the auditrium r she is in a bad md all make reference t ne entity being cntained by anther, even if that cntaining entity des nt fully enclse its cntents r is nt a physical cntainer in its wn right. All f these examples which are claimed t be based n sensry-mtr experiences f cntainment, make use f the CONTAINER image schema, a visual representatin f which is shwn in Figure 1 belw. Several image schemas have been identified and can be classified int a number f grups whse base sensry-mtr experiences include the cncepts f cntainment, space and frce [6]. Figure 1 - Representatin f the CONTAINER image schema Image schemas can be applied t mre abstract cncepts, thrugh the prcess f crss-dmain mapping, creating cnceptual metaphrs [10]. Fr example the phrase He s ging up in the wrld demnstrates the mapping f the UP-DOWN image schema nt the mre abstract cncept f career prgressin, creating the cnceptual metaphr PROMOTION IS UP; prgressing in ne's career, i.e. being prmted, is likened t being physically abve ther peple. A visual representatin f the UP-DOWN image schema is shwn in Figure 2 belw. This ability t extend the applicatin f image schemas thrugh cnceptual metaphrs t ther, ptentially unrelated dmains, makes them an extremely flexible and pwerful cnstruct as well as a useful tl fr analysing cnceptual mdels. Several applicatins f cnceptual metaphr and image schema thery exist, including arithmetic, plitics and philsphy [9]. Sme initial attempts have been made t apply cnceptual metaphr and image schema theries t the dmains f musical analysis and user interface design respectively which will be discussed in the fllwing sectins. Figure 2 - Representatin f the UP-DOWN image schema 2.1 Music The mst cmprehensive example f applying image schema thery t the dmain f music is prvided by Saslaw's analysis f the language used in Riemann's treatise entitled Systematic Study f Mdulatin as a Fundatin fr the Study f Musical Frm [14]. Salsaw argues that Riemann understands harmnic prgressin and mdulatin as mvement alng a path frm ne key CONTAINER t anther using the SOURCE-PATH-GOAL image schema. A visual representatin f the SOURCE-PATH- GOAL image schema is shwn in Figure 3 belw. Saslaw further extends the argument stating that based n Riemann's cnceptual mdels, mdulatin requires a FORCE image schema t mve frm ne key CONTAINER t anther. Figure 3 - Representatin f the SOURCE-PATH-GOAL image schema Saslaw's study is cmplemented by Zbikwski's paper n cnceptual mdels and crss-dmain mapping in music thery [15]. Zbikwski cmpares and cntrasts three therists' analyses f a shrt phrase frm the first mvement f Mzart's A majr pian snata, K331 with a view t understanding their cnceptual mdels f music. Althugh he identifies similarities between the analyses he als discvers differences in their apprach t rganising the structure f music, which he attributes t the therists having different cnceptual mdels f hierarchy. He cncludes his paper by discussing the prcess f mapping the different cnceptual mdels f hierarchy nt aspects f musical structure. 2.2 User Interface Design Althugh metaphrs are ften cnsidered an imprtant aspect f user interface design, using cnceptual metaphr and image schema thery as part f the design prcess is a relatively new technique. In a recent paper Hurtienne and Blessing [5] seek t establish if image schema thery can prvide a new apprach t user interface design. They argue that if their apprach is successful, emplying it wuld lead t mre intuitive user interfaces, as image schemas are based n sensry-mtr experiences. The preliminary experiments discussed in the paper certainly appear t supprt this hypthesis. Fr example, in ne experiment t test the cnceptual metaphr MORE IS UP, characterised by phrases such as his salary went up, a vertically riented slider cntrl was used t represent quantity and participants were asked t set the slider value based n a series f wrds assciated with quantity. The respnse times f the participants were reduced when the scale f the slider was

3 riented upwards supprting the metaphr than when it was riented dwnwards cntrary t the metaphr. Hwever, nly a small subset f image schemas and cnceptual metaphrs were tested and further wrk is necessary t clarify if the hypthesis is sund. Further wrk by Hurtienne, Israel and Weber int redesigning an invice verificatin and psting applicatin cncluded that using the image schemas elicited thrugh the cntext-f-use-analysis as a meta-language fr the analysis and design prcesses helped t fcus n the essential user interface requirements [7]. Althugh increasing evidence exists t supprt the successful applicatin f image schema and cnceptual metaphr thery t bth musical analysis and (separately) user interface design, n attempt has been made, t ur knwledge, t apply these theries t user interfaces fr musical analysis. The cmplex dmain terminlgy and ntatin used particularly in harmnic analysis, differentiates user interfaces fr this dmain frm thse fr business applicatins such as the invice verificatin and psting applicatin investigated by Hurtienne et al [7], nt nly in terms f requirements, but als in the methd used t effectively cmmunicate the dmain specific cncepts t nvice users, as explred belw. Infrmatin n the cnceptual metaphrs and image schemas used by musical experts already exists as discussed earlier [14] [15], hwever these analyses are based n the language used by therists in written wrk. Writing such articles and bks requires significant time and thught, and it is likely the cntent will have been subject t a review and editrial prcess, meaning the cnceptual mdels and metaphrs expsed culd, t a certain extent, be masked by ther, literary factrs. In rder t elicit a mre spntaneus cllectin f cnceptual metaphrs a shrt study was designed. 3. STUDY DESIGN A shrt study was cnducted in rder t establish the cnceptual metaphrs used by dmain experts when analyzing an excerpt f music. Three experienced musicians, all f whm have been educated t at least undergraduate level in music and have experience in perfrming and cnducting (and in tw cases instrumental music teaching), were chsen t take part in the study. They were prvided with a scre f the first twenty-tw bars f Laudate Dminum, a sacred mtet fr six vices, strings and bass cntinu by Claudi Mnteverdi, an Italian cmpser active between the later years f the 16 th and first half f the 17 th centuries. The excerpt was chsen as the harmnic prgressin is simple enugh t easily establish, but the excerpt als exhibits a mixture f lively meldies and hmphnic mvement, prviding ample pprtunity t expse the cnceptual metaphrs used thrugh discussin f the excerpt. The participants were asked t cllabrate n answering a number f questins: Discuss the meldic mvement in this excerpt. Discuss the harmnic prgressin in this excerpt. Discuss the interplay between the instrumental and vcal parts. Discuss hw yu feel abut this piece f music. Identify an aspect f this excerpt that yu find interesting and describe why. These questins were designed t fcus the participants n discussing specific aspects f the excerpt and thus maximize the number f cnceptual metaphrs and cnstituent image schemas likely t be elicited frm the dialgue. The participants were asked t cllabrate rather than answer the questins individually as it was believed that cllabratin wuld prduce mre spntaneus discussin as the participants evaluated each ther s respnses, revealing a greater wealth f cnceptual metaphrs. The lyrics fr the vcal parts, title and cmpser s details were bscured t ensure they did nt affect the participants' interpretatin f the excerpt. The discussin lasting apprximately thirty minutes was recrded and the transcriptin analysed t identify the cnceptual metaphrs used by the participants, cmparing the cmments made with linguistic examples given in [4] [7] [5] [6] [8] [9]. A large number f cnceptual metaphrs relating t varius aspects f music were expsed, hwever fr this study nly thse specifically relating t harmnic analysis were cnsidered. A selectin f the cmments and candidate cnceptual metaphrs prvisinally identified alng with their cnstituent image schemas appears in table 1 belw. Table 1 - Table shwing the cnceptual metaphrs and their cnstituent image schemas expsed by the dialgue. Cmment it just jumps frm G int C...and then A minr...then D minr...then back t G majr... they just g back t the tune again straight away in A minr I'd say I'd mdulated t smething else. I like the bit where it ges dwn t E majr....as yu say yu think yu knw what's cming and then... The ther parts stay n almst the same nte all the way thrugh. D majr chrd stuck in there at Cnceptual Metaphr(s) HARMONIC PROGRESSION IS MOVEMENT ALONG A PATH A CHORD IS A CONTAINER [FOR NOTES] A KEY IS A CONTAINER FOR NOTES MODULATION IS MOVEMENT ALONG A PATH LOW PITCH IS DOWN A CHANGE IN MUSICAL STYLE IS A CHANGE IN DIRECTION A NOTE IS AN A CHORD IS AN Cnstituent Image Schemas SOURCE-PATH- GOAL CONTAINER CONTAINER SOURCE-PATH- GOAL UP-DOWN DIVERSION the end... It is interesting t nte that these cnceptual metaphrs were nt islated and were repeated a number f times thrughut the dialgue, reinfrcing their imprtance as part f the cnceptual mdels the participants used t interpret and understand the excerpt. Additinally the cnceptual metaphrs HARMONIC PROGRESSION IS MOVEMENT ALONG A PATH, MODULATION IS MOVEMENT ALONG A PATH and A KEY

4 IS A CONTAINER FOR NOTES are cnfirmed by Saslaw s research int the image schemas identifiable in Riemann s Systematic Study f Mdulatin as a Fundatin fr the Study f Musical Frm [14]. The cnceptual metaphr LOW PITCH IS DOWN was identified by Zbikwski [15] althugh he makes reference t the VERTICALITY image schema rather than using the UP-DOWN image schema. This cnceptual metaphr was als nted by Hurtienne [4]. Other interpretatins f the dialgue are pssible since many image schemas have dependencies n r are related t ther image schemas, fr example a CONTAINER schema will have an assciated CONTENT schema. In particular, cmments made by sme participants indicate that FORCE schemas culd frm part f their cnceptual mdels. This is supprted by Saslaw wh argues that Riemann's theries require a FORCE schema t mdulate t anther key [14]. Finally, there may be evidence fr additinal image schemas such as NEAR-FAR and PART- WHOLE in the data [Hurtienne, persnal cmmunicatin]. 4. APPLICATION OF FINDINGS 4.1 Applicatin t a musical user interface An explratry attempt was made t investigate whether the cnceptual metaphrs and image schemas identified had been applied, uncnsciusly r therwise, t the interactin design and structure f the user interface f Harmny Space. We anticipate that later wrk will include a cmparative study f this kind acrss several musical interfaces but fr the purpses f this first study we pted t fcus n a single musical interface. Harmny Space is based n the Lnguet-Higgins [11] and Balzan [1] theries f harmnic perceptin and is specifically designed t assist nvices in learning abut the principles f tnal harmny and harmnic prgressin [2]. Harmnic thery requires a cmplex set f cncepts t master as it invlves knwledge and understanding f a number f dmain specific terms and ntatin. Harmny Space attempts t remedy this prblem by expliting users' basic understanding f straight-line mvement and cllectins f related entities. A whle bdy flr-prjected versin f Harmny Space exists [3], hwever the desktp versin f the applicatin was used fr this evaluatin. Harmny Space uses a tw-dimensinal grid t display all f the ntes within the chrmatic scale. The ntes within a specific key (a subset f ntes within the chrmatic scale) are arranged within the repeated pattern f a white key windw. Figure 4 belw shws an anntated screensht f Harmny Space with the key windw cnfigured t shw the ntes within the key f G majr. Ntes which d nt frm part f the selected key appear within the frbidden black areas. When the user clicks n a nte within the key windw the apprpriate chrd is sunded. The tnal quality f the chrd, majr, minr r diminished, will depend n the ntes available in the selected key. Fr example, under the default mapping, when cnfigured in G majr, clicking n G will play the chrd f G majr, clicking n C will play the chrd f C majr and clicking n E will play the chrd f E minr, etc, etc. Figure 4 - Screensht f Harmny Space cnfigured in G majr 4.2 Evaluatin Evaluating Harmny Space using the cnceptual metaphrs and image schemas identified in the earlier study revealed the majrity f the metaphrs and image schemas are supprted either thrugh visual display, interactin cmpnents r thrugh audi utput. Althugh audi utput is a cmmn feature f mst, if nt all, music sftware, the supprt fr the cnceptual metaphrs and image schemas thrugh audi utput has nt been systematically investigated t ur knwledge, and is therefre particularly interesting in this instance. The metaphr A CHORD IS A CONTAINER [FOR NOTES] is supprted by sunding all f the ntes in a chrd at the same time. The metaphr is then reinfrced by highlighting the ntes in the chrd n the pian keybard and n the grid display. Since Hurtienne et al's studies did nt cnsider audi utput, [5], [7] this evaluatin f Harmny Space prvides us with additinal infrmatin n new ways in which cnceptual metaphrs and image schemas can be applied t user interface design, hwever further wrk is required t establish the extent t which audi utput can be used in this manner. Tw cnceptual metaphrs that Harmny Space supprts well are HARMONIC PROGRESSION IS MOVEMENT ALONG A PATH and MODULATION IS MOVEMENT ALONG A PATH. By tracing the histry f the nte circles clicked n the user can start t visualise chrd changes as a series f pints alng a path. (Fr example figure 5 shws the harmnic prgressin thrugh Charlie Parker's Swedish Blues. Circles clured red indicate a chrd used in the excerpt and the arrws indicate the directin f the prgressin frm ne chrd t anther. Nte the arrws have been added t the figure independently.) Mdulatin thrugh mving the key windw t a different key prvides a similar cnceptual mdel. Useful thugh that supprt is, it culd hwever be imprved by the additin f a means f tracing the directin f bth the chrd changes and the key windw. This additin wuld help t cement the cnceptual metaphrs further and shuld aid users in memrising the sequences.

5 (figures 7a and b), s that perceptually this presents as a LOW PITCH is DARK cnceptual metaphr. See [4] fr mre n the BRIGHT-DARK image schema. Figure 5: Harmnic prgressin in Charlie Parker's Swedish Blues. Arrws are used t shw the PATH f the prgressin thrugh the piece. Unfrtunately the cnceptual metaphr LOW PITCH IS DOWN is nt supprted in the current versin f Harmny Space (at least, nt in the central tw-dimensinal grid area - thugh it is represented in the subsidiary vertical keybard display area see figure 4). Viewing a cmpsitin in a scre frmat affrds the develpment f the cncept f ne chrd being higher r lwer than anther (figure 6) based n the pitches f the ntes included in the chrds - thugh this can be ambiguus r undefined, in cases where sme ntes are lwer and sme higher. In the study, where participants were given an excerpt in scre frmat, several instances were recrded f chrd prgressins being referred t as mving up and dwn frm ne chrd t anther. Since Harmny Space displays each nte in the chrmatic scale in a grid frmat, where bth majr axes encde harmnic relatinships, rather than in a scre frmat, where the vertical psitin f the ntes indicates pitch height, it des nt appear t be straightfrwardly pssible t prvide supprt fr this particular cnceptual metaphr in this part f the interface. Figures 7a and b. An F majr chrd in 1st inversin. The F majr chrd in figure 7a is an ctave higher than in 7b. 4.3 Design Implicatins After cmpletin f the analysis, the results were shwn t the designer. This was t cntribute t the design prcess and t elicit infrmal preliminary infrmatin n the perceived value f the apprach t a designer. The designer stated that he cnsidered the criticisms insightful, althugh he was already aware f the prblems identified. He had pre-existing design sketches pending implementatin which partly address these prblems. The effect f the first design sketch was simply t add an area fr tracing key changes. The effect f the secnd (figure 8) was t apply a rtatin and reflectin peratin t the graphical layut f the central area, whse effect was t make the metaphr LOW PITCH IS DOWN hld n any vertical slice f the 2D plane. Figure 6: Stave shwing a C majr chrd and tw F majr chrds, the secnd is ne ctave lwer than the first. Fr many purpses, the absence f supprt fr this metaphr in the central display may nt matter, as the primary aim f this interface is t affrd understanding and manipulatin f harmnic relatinships and harmnic mvement in the case f beginners, fcusing n basic relatinships; and in the case f experts, fcusing n larger scale harmnic relatinships. Indeed, fr many purpses, the interface explicitly assumes ctave equivalence [2]. Hwever, when dealing specifically with certain aspects f vicing and vice leading (tasks which cncern the meldic mvement f individual parts within a harmnic whle) the lack f supprt fr the pitch height metaphr in the central display is likely t make that relatinship less immediately bvius, making sme tasks f this kind harder. One further detail illustrates issues f cmbinatins f, and tradeffs between, metaphrs in interface design. In the central display area, pitch differences f less than an ctave are encded as distances and directins in the 2D plane, althugh LOW PITCH is nt represented as DOWN in the current design. Fr pitch differences greater than an ctave, the ctave cmpnent is displayed using what might be seen as a variant f the LOW PITCH IS DOWN metaphr, with dwn riented in the z-plane. Hwever, crucially, since the interface is rendered graphically in tw dimensins, the z-plane is prtrayed indirectly using shading Even with this imprved partial supprt f the pitch height metaphr, shrt f mving t a three dimensinal graphical rendering, the criticism abut the clarity f the metaphr still has applicatin in the central display area, in the case f intervals greater than an ctave and near ctave bundaries, fr reasns analysed at the end f sectin CONCLUSIONS 5.1 Limitatins Figure 8 - Redesign f Harmny Space Due t the labur invlved in this first applicatin f this methd, nly a single excerpt f music was cnsidered. Using a number f excerpts in different genres wuld help t cnfirm, falsify r refine the interpretatin f the cmments made by participants in this study and als affrd the pprtunity t elicit additinal cnceptual metaphrs and image schemas which were nt identified in this study. 5.2 Further Wrk The identificatin f the cnceptual metaphr LOW PITCH IS DOWN, which is supprted by the vertical placement f ntes within a scre frmat, indicates that alternative styles f musical

6 presentatin, and indeed different tasks, may elicit different cnceptual metaphrs. Specifically if the participants had been asked t analyse the excerpt using Harmny Space rather than being prvided with a scre, it is pssible that cnceptual metaphrs based n the UP-DOWN schema may nt have been expsed thrugh the resulting dialgue, as the central display f Harmny Space des nt supprt them. Cnversely, ther cnceptual metaphrs, fr harmnic relatinships nt cnsidered in the present study, but which Harmny Space may represent well, might have been revealed. Future wrk will fcus n using alternative musical representatin frmats, fr example pian rll ntatin, guitar tablature, figured bass and vide ftage f perfrmances, t establish if different representatin frmats d indeed expse different cnceptual metaphrs. Sme cnsideratin will als be given t the rle played by visual metaphrs and semitics using a particular representatin frmat. The results f these studies will be used t systematically analyse further examples f music analysis sftware. Further studies will als seek t clarify the existence f FORCE schemas as indicated in the initial study and Saslaw s wrk [14]. 5.3 Cnclusins This study is the first that we are aware f t apply image schema and cnceptual metaphr thery t user interface design fr music. We have identified and analysed cnceptual metaphrs used by dmain experts when discussing harmnic prgressin in an excerpt f music. We have analysed the extent t which these cnceptual metaphrs and image schemas have been applied, uncnsciusly r therwise, t the design f a user interface fr music (Harmny Space). This analysis identified a number f cnceptual metaphrs and image schemas that were supprted in the user interface. It als revealed parts f the user interface present design in which pprtunities t apply users cnceptual metaphrs fully r cnsistently were nt realized. This led t the identificatin f areas fr ptential imprvement t the user interface. These areas fr imprvement were fund t be already knwn t the designer, but the analyses were cnsidered insightful by the designer, and in any case we have presented a systematic, independent methd t identify several such critical features f a user interface fr music. The evaluatin als revealed the ptential fr a new area f applicatin f cnceptual metaphrs and image schemas t user interface design, namely that f audi utput. A larger scale study is required t establish the extent t which audi utput can supprt cnceptual metaphrs and image schemas. Hwever, the results frm this preliminary study suggest this culd be a fruitful area fr future investigatin. 6. ACKNOWLEDGEMENTS We gratefully acknwledge the feedback n this paper prvided by Jörn Hurtienne. 7. REFERENCES [1] Balzan, G. J. The Grup-theretic Descriptin f 12-fld and Micrtnal Pitch systems. COMPUTER MUSIC JOURNAL, 4, 4 (Winter 1980). [2] Hlland, S. Learning abut harmny with Harmny Space: an verview. In Smith, M. and Wiggins, G. eds. Music Educatin: An Artificial Intelligence Apprach, [3] Hlland, S., Marshall, P., Bird, J., Daltn, S., Mrris, R., Pantidi, N., Rgers, Y. and Clark, A. Running up Blueberry Hill: Prttyping Whle Bdy Interactin in Harmny Space. In Prceedings f the Third Cnference n Tangible and Embdied Interactin. (2009). ACM, New Yrk, 2009, [4] Hurtienne, J. ISCAT - Image Schema Database. (2007). Available at [Accessed February 2009]. [5] Hurtienne, J. and Blessing, L. Design fr Intuitive Use - Testing Image Schema Thery fr User Interface Design. In Annymus Internatinal Cnference n Engineering Design. (Paris, France, 2007). [6] Hurtienne, J. and Israel, J. H. Image schemas and their metaphrical extensins: intuitive patterns fr tangible interactin. In Prceedings f the 1st Internatinal Cnference n Tangible and Embedded Interactin. (Batn Ruge, Luisiana, February 15-17, 2007). 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