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Exponential increases of available computational resources, miniaturization, and sensors, are enabling the development of digital musical instruments that use non-conventional interaction paradigms and interfaces. This scenario opens up new opportunities and challenges in the creation of accessible instruments to include persons with disabilities into music practice. This work focuses in particular on instruments dedicated to people who can not use limbs, for whom the only means for musical expression are the voice and a small number of traditional instruments. First, a modular and adaptable conceptual framework is discussed for the design of accessible digital musical instruments targeted at performers with motor impairments. Physical interaction channels available from the neck upwards (head, mouth, eyes, brain) are analyzed in terms of potential and limitations for musical interaction. Second, a systematic survey of previously developed instruments is presented: each is analyzed in terms of design choices, physical interaction channels and related sensors, mapping strategies, performer interface and feedback. As a result of this survey, several open research directions are discussed, including the use of unconventional interaction channels, musical control mappings, multisensory feedback, design, evaluation, and adaptation.

The 16th Sound and Music Computing Conference (SMC 2019) took place in Malaga, Spain, 28−31 May 2019 and it was organized by the Application of Information and Communication Technologies Research group (ATIC) of the University of Malaga (UMA). The SMC 2019 associated Summer School took place 25−28 May 2019. The First International Day of Women in Inclusive Engineering, Sound and Music Computing Research (WiSMC 2019) took place on 28 May 2019. The SMC 2019 TOPICS OF INTEREST included a wide selection of topics related to acoustics, psychoacoustics, music, technology for music, audio analysis, musicology, sonification, music games, machine learning, serious games, immersive audio, sound synthesis, etc.

A library of piano samples composed of binaural recordings and keyboard vibrations has been built, with the aim of sharing accurate data that in recent years have successfully advanced the knowledge on several aspects about the musical keyboard and its multimodal feedback to the performer. All samples were recorded using calibrated measurement equipment on two Yamaha Disklavier pianos, one grand and one upright model. This paper documents the sample acquisition procedure, with related calibration data. Then, for sound and vibration analysis, it is shown how physical quantities such as sound intensity and vibration acceleration can be inferred from the recorded samples. Finally, the paper describes how the samples can be used to correctly reproduce binaural sound and keyboard vibrations. The library has potential to support experimental research about the psycho-physical, cognitive and experiential effects caused by the keyboard’s multimodal feedback in musicians and other users, or, outside the laboratory, to enable an immersive personal piano performance.