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Haptic Communication Between Touch, Sound and Vibration - Part 2 of 2

Although a sound bed shares purposes and outcomes with musical instruments, it lacks the portability of most musical instruments; however, even full-scale pianos and organs can be replicated by more conveniently portable keyboards and midi versions.

From personal discovery and exploration, effects similar to a sound bed can be experienced by lying under a concert grand piano, such as a Steinway, and allowing the sound and vibration to cascade from above. 

A personal observation can attest that the grand piano experience is much more powerful and immersive than the use of a sound bed.

While the sound bed and reclining below the soundboard of a grand piano both would be classified as being “passive participation,” playing a musical instrument and singing would be classified as “active participation” on an intimate basis. 

From a personal piano and vocal perspective, this musician has experienced an undeniable inclination to touch the keys of the piano, to feel the vibration of the soundboard, to hear the frequency and vibration of the individual notes as well as the chord structure, and the flow of the arpeggios rolling up and down the entire keyboard. 

Singing requires no external instrumentation since it produces sound and vibration from
within the musician but the inclination to produce the music remains equally as strong.

Although skill is often used as a measurement of musical proficiency, skill is inextricably linked to engagement, so when viewing a performance, attention should extend beyond the technical skill of the musician. 

While the development of technical skill forms the basis of excellence in musicianship, the ability of the musician to become immersed in the music is also of the utmost importance. 

That level of engagement (flow) exists where there is a lack of concern for making an error  or for what others may think. There exists only the musician and their music.

Dr. Mary Ann Markey