Table of Contents

• NIME, Musicality and Practice-led MethodsOwen Green. 1-6 [doi]
• Hybrid Resonant Assemblages: Rethinking Instruments, Touch and Performance in New Interfaces for Musical ExpressionJohn Bowers, Annika Haas. 7-12 [doi]
• Examining the Perception of Liveness and Activity in Laptop Music: Listeners' Inference about what the Performer is Doing from the Audio AloneOliver Bown, Renick Bell, Adam Parkinson. 13-18 [doi]
• Improvising with the Threnoscope: Integrating Code, Hardware, GUI, Network, and Graphic ScoresThor Magnusson. 19-22 [doi]
• Instrumenting the Interaction: Affective and Psychophysiological Features of Live Collaborative Musical ImprovisationEvan Morgan, Hatice Gunes, Nick Bryan-Kinns. 23-28 [doi]
• Augmented Stage for Participatory PerformancesDario Mazzanti, Victor Zappi, Darwin G. Caldwell, Andrea Brogni. 29-34 [doi]
• Touch Screen Collaborative Music: Designing NIME for Older People with DementiaStu Favilla, Sonja Pedell. 35-39 [doi]
• SoundXY4: Supporting Tabletop Collaboration and Awareness with Ambisonics SpatialisationAnna Xambó, Gerard Roma, Robin C. Laney, Chris Dobbyn, Sergi Jordà. 40-45 [doi]
• Experio: a Design for Novel Audience Participation in Club SettingsBastiaan van Hout, Luca Giacolini, Bart Hengeveld, Mathias Funk, Joep W. Frens. 46-49 [doi]
• TreeQuencer: Collaborative Rhythm Sequencing A Comparative StudyNiklas Klügel, Gerhard Hagerer, Georg Groh. 50-53 [doi]
• Low-Latency Audio Pitch Tracking: A Multi-Modal Sensor-Assisted ApproachLaurel Pardue, Dongjuan Nian, Christopher Harte, Andrew McPherson. 54-59 [doi]
• The Actuated guitar: Implementation and user test on children with HemiplegiaJeppe Larsen, Dan Overholt, Thomas B. Moeslund. 60-65 [doi]
• Visualizing Song Structure on Timecode VinylsFlorian Heller, Jan O. Borchers. 66-69 [doi]
• Optical Measurement of Acoustic Drum Strike LocationsJanis Sokolovskis, Andrew McPherson. 70-73 [doi]
• Techniques in Swept Frequency Capacitive Sensing: An Open Source ApproachColin Honigman, Jordan Hochenbaum, Ajay Kapur. 74-77 [doi]
• 16-CdS: A Surface Controller for the Simultaneous Manipulation of Multiple Analog ComponentsCarlos Domínguez. 78-79 [doi]
• B.O.M.B. - Beat Of Magic Box -: Stand-Alone Synthesizer Using Wireless Synchronization System For Musical Session and PerformanceYoshihito Nakanishi, Seiichiro Matsumura, Chuichi Arakawa. 80-81 [doi]
• Engravings for Prepared Snare Drum, iPad, and ComputerTimothy Polashek, Brad Meyer. 82-83 [doi]
• Radear: A Tangible Spinning Music SequencerDaniel Gábana Arellano, Andrew McPherson. 84-85 [doi]
• Rule-Based Performative Synthesis of Sung SyllablesLionel Feugère, Christophe d'Alessandro. 86-87 [doi]
• The Well-Sequenced SynthesizerLuisa Pereira Hors. 88-89 [doi]
• A Gesture Detection with Guitar Pickup and EarphonesSangwon Suh, Jeong-seob Lee, Woon Seung Yeo. 90-93 [doi]
• A Max/MSP Approach for Incorporating Digital Music via Laptops in Live Performances of Music BandsYehiel Amo, Gil Zissu, Shaltiel Eloul, Eran Shlomi, Dima Schukin, Almog Kalifa. 94-97 [doi]
• A Real Time Common Chord Progression Guide on the Smartphone for Jamming Pop Song on the Music KeyboardSimon Lui. 98-101 [doi]
• An Exploration of Peg Solitaire as a Compositional ToolKirsty Keatch. 102-105 [doi]
• Auraglyph: Handwritten Computer Music Composition and DesignSpencer Salazar, Ge Wang. 106-109 [doi]
• Body As Instrument: Performing with Gestural InterfacesMary Mainsbridge, Kirsty A. Beilharz. 110-113 [doi]
• Circle Squared and Circle Keys Performing on and with an Unstable Live Algorithm for the DisklavierPalle Dahlstedt. 114-117 [doi]
• Composing Embodied Sonic Play Experiences: Towards Acoustic Feedback EcologyAkito Van Troyer. 118-121 [doi]
• Design & Evaluation of an Accessible Hybrid Violin PlatformDan Overholt, Steven Gelineck. 122-125 [doi]
• Dynamical Interactions with Electronic InstrumentsTom Mudd, Simon Holland, Paul Mulholland, Nick Sheep Dalton. 126-129 [doi]
• eMersion | Sensor-controlled Electronic Music Modules & Digital Data WorkstationChet Udell, James Paul Sain. 130-133 [doi]
• FingerSynth: Wearable Transducers for Exploring the Environment and Playing Music EverywhereGershon Dublon, Joseph A. Paradiso. 134-135 [doi]
• Hand and Finger Motion-Controlled Audio Mixing InterfaceJarrod Ratcliffe. 136-139 [doi]
• How to Make Embedded Acoustic InstrumentsEdgar Berdahl. 140-143 [doi]
• Interactive Parallax Scrolling Score Interface for Composed Networked ImprovisationRob Canning. 144-146 [doi]
• Mobile Device Percussion ParadeJeff Snyder, Avneesh Sarwate. 147-150 [doi]
• Musical Interface to Audiovisual Corpora of Arbitrary InstrumentsJoachim Goßmann, Max Neupert. 151-154 [doi]
• New Open-Source Interfaces for Group Based Participatory Performance of Live Electronic MusicTimothy J. Barraclough, Jim W. Murphy, Ajay Kapur. 155-158 [doi]
• Orphion: A Gestural Multi-Touch Instrument for the iPadSebastian Trump, Jamie Bullock. 159-162 [doi]
• Pd-L2Ork Raspberry Pi Toolkit as a Comprehensive Arduino Alternative in K-12 and Production ScenariosIvica Ico Bukvic. 163-166 [doi]
• PiaF: A Tool for Augmented Piano Performance Using Gesture Variation FollowingAlejandro Van Zandt-Escobar, Baptiste Caramiaux, Atau Tanaka. 167-170 [doi]
• Pitch Canvas: Touchscreen Based Mobile Music InstrumentBradley Strylowski, Jesse T. Allison, Jesse Guessford. 171-174 [doi]
• Reappropriating Museum Collections: Performing Geology Specimens and Meterology Data as New Instruments for Musical ExpressionJohn Bowers, Tim Shaw. 175-178 [doi]
• Rub Synth : A Study of Implementing Intentional Physical Difficulty Into Touch Screen Music ControllersOzan Sarier. 179-182 [doi]
• Sound Analyser: A Plug-In for Real-Time Audio Analysis in Live Performances and InstallationsAdam M. Stark. 183-186 [doi]
• Tangle: a Flexible Framework for Performance with Advanced Robotic Musical InstrumentsPaul Mathews, Ness Morris, Jim W. Murphy, Ajay Kapur, Dale A. Carnegie. 187-190 [doi]
• The Politics of Laptop Ensembles: A Survey of 160 Laptop Ensembles and their Organisational StructuresShelly Knotts, Nick Collins. 191-194 [doi]
• Dynamics in Music Conducting: A Computational Comparative Study Among SubjectsÁlvaro Sarasúa, Enric Guaus. 195-200 [doi]
• Triggering Sounds from Discrete Air Gestures: What Movement Feature Has the Best Timing?Luke Dahl. 201-206 [doi]
• The Composing Hand: Musical Creation with Leap Motion and the BigBang RubetteDaniel Tormoen, Florian Thalmann, Guerino Mazzola. 207-212 [doi]
• Harmonic Motion: A Toolkit for Processing Gestural Data for Interactive SoundTim Murray Browne, Mark D. Plumbley. 213-216 [doi]
• To gesture or Not? An Analysis of Terminology in NIME Proceedings 2001-2013Alexander Refsum Jensenius. 217-220 [doi]
• Manhattan: End-User Programming for MusicChris Nash. 221-226 [doi]
• The Divergent Interface: Supporting Creative Exploration of Parameter SpacesRobert Tubb, Simon Dixon. 227-232 [doi]
• A Methodological Framework for Teaching, Evaluating and Informing NIME Design with a Focus on Mapping and ExpressivenessSergi Jordà, Sebastián Mealla C.. 233-238 [doi]
• Rapid Creation and Publication of Digital Musical InstrumentsCharlie Roberts, Matthew Wright, JoAnn Kuchera-Morin, Tobias Höllerer. 239-242 [doi]
• TrAP: An Interactive System to Generate Valid Raga Phrases from Sound-TracingsUdit Roy, Tejaswinee Kelkar, Bipin Indurkhya. 243-246 [doi]
• Rich Contacts: Corpus-Based Convolution of Contact Interaction Sound for Enhanced Musical ExpressionDiemo Schwarz, Pierre-Alexandre Tremblay, Alex Harker. 247-250 [doi]
• Making the Most of Wi-Fi: Optimisations for Robust Wireless Live Music PerformanceThomas Mitchell, Sebastian Madgwick, Simon Rankine, Geoffrey S. Hilton, Adrian Freed, Andrew R. Nix. 251-256 [doi]
• Simplified Expressive Mobile Development with NexusUI, NexusUp, and NexusDropBenjamin Taylor, Jesse T. Allison, William Conlin, Yemin Oh, Daniel Holmes. 257-262 [doi]
• Communication, Control, and State Sharing in Collaborative Live CodingSang-Won Lee, Georg Essl. 263-268 [doi]
• A Simple Architecture for Server-based (Indoor) Audio WalksThomas Resch, Matthias Krebs. 269-272 [doi]
• Ping-Pong: Musically Discovering LocationsHyung-Suk Kim, Jorge Herrera, Ge Wang. 273-276 [doi]
• CloudOrch: A Portable SoundCard in the CloudAbram Hindle. 277-280 [doi]
• AudioQuilt: 2D Arrangements of Audio Samples using Metric Learning and Kernelized SortingOhad Fried, Zeyu Jin, Reid Oda, Adam Finkelstein. 281-286 [doi]
• Probabilistic Models for Designing Motion and Sound RelationshipsJules Françoise, Norbert Schnell, Riccardo Borghesi, Frédéric Bevilacqua. 287-292 [doi]
• Musical Instrument Mapping Design with Echo State NetworksChris Kiefer. 293-298 [doi]
• Funky Sole Music: Gait Recognition and Adaptive MappingKristian Nymoen, Sichao Song, Yngve Hafting, Jim Tørresen. 299-302 [doi]
• Separation: Short Range Repulsion. Implementation of an Automated Aesthetic Synchronization System for a Dance PerformanceMichael Krzyzaniak, Julie Akerly, Matthew Mosher, Muharrem Yildirim, Garth Paine. 303-306 [doi]
• The Cave of Sounds: An Interactive Installation Exploring How We Create Music TogetherTim Murray Browne, Dom Aversano, Susanna Garcia, Wallace Hobbes, Daniel Lopez, Tadeo Sendon, Panagiotis Tigas, Kacper Ziemianin, Duncan Chapman. 307-310 [doi]
• OSC-Namespace and OSC-State: Schemata for Describing the Namespace and State of OSC-Enabled SystemsIlias Bergstrom, Joan Llobera. 311-314 [doi]
• Chronicles of a Robotic Musical CompanionMason Bretan, Gil Weinberg. 315-318 [doi]
• Structure-Borne Sound and Aurally Active SpacesOtso Lähdeoja. 319-322 [doi]
• TouchNoise: A Particle-based Multitouch Noise Modulation InterfaceAxel Berndt, Nadia Al-Kassab, Raimund Dachselt. 323-326 [doi]
• Designing Sound Collaboratively Perceptually Motivated Audio SynthesisNiklas Klügel, Timo Becker, Georg Groh. 327-330 [doi]
• Repurposing Video Game Software for Musical Expression: A Perceptual ApproachAdriana Sa. 331-334 [doi]
• The Development Of Physical Spatial ControllersBridget Johnson, Michael Norris, Ajay Kapur. 335-338 [doi]
• Evaluating the Performance of a New Gestural Instrument Within an EnsembleAlon Ilsar, Mark Havryliv, Andrew Johnston. 339-342 [doi]
• Extending the Nexus Data Exchange Format (NDEF) SpecificationLawrence Fyfe, Adam R. Tindale, Sheelagh Carpendale. 343-346 [doi]
• Operating Sound Parameters Using Markov Model and Bayesian Filters in Automated Music PerformanceFumito Hashimoto, Motoki Miura. 347-350 [doi]
• The Talking Guitar: Headstock Tracking and Mapping StrategiesLiam Donovan, Andrew McPherson. 351-354 [doi]
• Algorave: A Survey of the History, Aesthetics and Technology of Live Performance of Algorithmic Electronic Dance MusicNick Collins, Alex McLean. 355-358 [doi]
• Design and Evaluation of a Gesture Controlled Singing Voice InstallationCornelius Poepel, Jochen Feitsch, Marco Strobel, Christian Geiger. 359-362 [doi]
• SynthAssist: Querying an Audio Synthesizer by Vocal ImitationMark Cartwright, Bryan Pardo. 363-366 [doi]
• TAPIR Sound Tag: An Enhanced Sonic Communication Framework for Audience Participatory PerformanceJimin Jeon, Gunho Chae, Edward Jangwon Lee, Woon Seung Yeo. 367-370 [doi]
• Lessons Learned in Exploring the Leap Motion(TM) Sensor for Gesture-based Instrument DesignJihyun Han, Nicolas Gold. 371-374 [doi]
• Twkyr: a Multitouch Waveform LooperKarl Yerkes, Matthew Wright. 375-378 [doi]
• Quick Live Coding Collaboration In The Web BrowserChad McKinney. 379-382 [doi]
• endo/exo Making Art and Music with Distributed ComputingJiffer Harriman, Michael Theodore, Nikolaus Correll, Hunter Ewen. 383-386 [doi]
• A Material Computation Perspective on Audio Mosaicing and Gestural ConditioningNavid Navab, Doug Van Nort, Sha Xin Wei. 387-390 [doi]
• The Siren OrganRegina Collecchia, Dan Somen, Kevin McElroy. 391-394 [doi]
• Internally Actuated Drums for Expressive PerformanceDavid Rector, Spencer S. Topel. 395-398 [doi]
• AlphaSphere from Prototype to ProductAdam Place, Liam Lacey, Thomas Mitchell. 399-402 [doi]
• YouHero Making an Expressive Concert Instrument from the GuitarHero ControllerPalle Dahlstedt, Patrik Karlsson, Katarina Widell, Tony Blomdahl. 403-406 [doi]
• WIJAM: A Mobile Collaborative Improvisation Platform under Master-players ParadigmJun-qi Deng, Francis Chi-Moon Lau, Ho-Cheung Ng, Yu-Kwong Kwok, Hung-Kwan Chen, Yuheng Liu. 407-410 [doi]
• You'll Never Walk Alone: Composing Location-Based SoundtracksAdrian Hazzard, Steve Benford, Gary Burnett. 411-414 [doi]
• A Morphological Analysis of Audio-Objects and their Control Methods for 3D AudioJustin Mathew, Stéphane Huot, Alan Blum. 415-420 [doi]
• Evaluating the Perceived Similarity Between Audio-Visual Features Using Corpus-Based Concatenative SynthesisAugoustinos Tsiros. 421-426 [doi]
• CollideFx: A Physics-Based Audio Effects ProcessorChet Gnegy. 427-430 [doi]
• Vocal Vibrations: A Multisensory Experience of the VoiceCharles Holbrow, Elena Naomi Jessop, Rebecca Kleinberger. 431-434 [doi]
• Timbre morphing: near real-time hybrid synthesis in a musical installationDuncan Williams, Peter Randall-Page, Eduardo Miranda. 435-438 [doi]
• Acoustic Localisation as an Alternative to Positioning Principles in Applications presented at NIME 2001-2013Dominik Schlienger, Sakari Tervo. 439-442 [doi]
• Forming Shapes to Bodies: Design for Manufacturing in the Prosthetic InstrumentsIan Hattwick, Joseph Malloch, Marcelo M. Wanderley. 443-448 [doi]
• Constraining Movement as a Basis for DMI Design and PerformanceNicholas Ward, Giuseppe Torre. 449-454 [doi]
• Dimensionality and Appropriation in Digital Musical Instrument DesignVictor Zappi, Andrew McPherson. 455-460 [doi]
• The Prospects For Eye-Controlled Musical PerformanceAnthony J. Hornof. 461-466 [doi]
• Musical Interface Design: An Experience-oriented FrameworkFabio Morreale, Antonella De Angeli, Sile O'Modhrain. 467-472 [doi]
• Rasper: a Mechatronic Noise-IntonerMo Zareei, Ajay Kapur, Dale A. Carnegie. 473-478 [doi]
• The Robotic Taishogoto: A New Plug 'n Play Desktop Performance InstrumentJason Long. 479-482 [doi]
• Imitation Framework for PercussionOzgur Izmirli, Jake Faris. 483-486 [doi]
• Distributed Control in a Mechatronic Musical InstrumentMichael Gurevich. 487-490 [doi]
• Rhythm Apparatus on OverheadChristian Faubel. 491-494 [doi]
• 3DinMotion A Mocap Based Interface for Real Time Visualisation and Sonification of Multi-User InteractionsAlain Renaud, Caecilia Charbonnier, Sylvain Chagué. 495-496 [doi]
• Soundbeam: A Platform for Sonyfing Web TrackingCharles Hutchins, Holger Ballweg, Shelly Knotts, Jonas Hummel, Antonio Roberts. 497-498 [doi]
• Wubbles: A Collaborative Ephemeral Musical InstrumentFlorent Berthaut, Jarrod Knibbe. 499-500 [doi]
• CHIMAERA The Poly-Magneto-Phonic Theremin An Expressive Touch-Less Hall-Effect Sensor ArrayHanspeter Portner. 501-504 [doi]
• Collaborative Live-Coding with an Immersive InstrumentGraham Wakefield, Charlie Roberts, Matthew Wright, Timothy Wood, Karl Yerkes. 505-508 [doi]
• Composing for DMIs Entoa, a Dedicate Piece for IntonaspacioClayton Mamedes, Mailis G. Rodrigues, Marcelo M. Wanderley, Jônatas Manzolli, Denise H. L. Garcia, Paulo Ferreira-Lopes. 509-512 [doi]
• Conducting Collective Instruments : A Case StudyJosep M. Comajuncosas, Enric Guaus. 513-516 [doi]
• Conductive Music: Teaching Innovative Interface Design and Composition Techniques with Open-Source HardwareEmily Robertson, Enrico Bertelli. 517-520 [doi]
• Controlling Physically Based Virtual Musical Instruments Using The GlovesStefania Serafin, Stefano Trento, Francesco Grani, Hannah Perner-Wilson, Sebastian Madgwick, Thomas Mitchell. 521-524 [doi]
• Designing Mappings for the Sponge: Towards Spongistic MusicMartin Marier. 525-528 [doi]
• Designing Sound for Recreation and Well-BeingAnders-Petter Andersson, Birgitta Cappelen, Fredrik Olofsson. 529-532 [doi]
• Distributing Mobile Music Applications for Audience Participation Using Mobile Ad-hoc Network (MANET)Sang-Won Lee, Georg Essl, Zhuoqing Morley Mao. 533-536 [doi]
• El-Lamellophone A Low-cost, DIY, Open Framework for Acoustic Lemellophone Based HyperinstrumentsShawn Trail, Duncan MacConnell, Leonardo Jenkins, Jeff Snyder, George Tzanetakis, Peter F. Driessen. 537-540 [doi]
• Improvasher: A Real-Time Mashup System for Live Musical InputMatthew E. P. Davies, Adam M. Stark, Fabien Gouyon, Masataka Goto. 541-544 [doi]
• In A State: Live Emotion Detection and Visualisation for Music PerformanceAdinda Rosa van't Klooster, Nick Collins. 545-548 [doi]
• Musical Composition by Regressional Mapping of Physiological Responses to Acoustic FeaturesValtteri Wikström. 549-552 [doi]
• A Notation System for the Karlax ControllerTom Mays, Francis Faber. 553-556 [doi]
• Polus: The Design and Development of a New, Mechanically Bowed String Instrument EnsembleBlake Johnston, Henry Dengate Thrush, Ajay Kapur, Jim W. Murphy, Tane Moleta. 557-560 [doi]
• Reunion2012: A Novel Interface for Sound Producing Actions Through the Game of ChessAnders Tveit, Hans Wilmers, Notto Thelle, Magnus Bugge, Thom Johansen, Eskil Muan Sæther. 561-564 [doi]
• Robot: Tune Yourself! Automatic Tuning for Musical RoboticsJim W. Murphy, Paul Mathews, Ajay Kapur, Dale A. Carnegie. 565-568 [doi]
• Sketch-Based Musical Composition and PerformanceHaojing Diao, Yanchao Zhou, Christopher Andrew Harte, Nick Bryan-Kinns. 569-572 [doi]
• Smartphone-based Music ConductingYang Kyu Lim, Woon Seung Yeo. 573-576 [doi]
• SOUND TOSSING Audio Devices in the Context of Street ArtReinhard Gupfinger, Martin Kaltenbrunner. 577-580 [doi]
• Gesture and Embodied Metaphor in Spatial Music Performance Systems DesignRicky Graham, Brian Bridges. 581-584 [doi]
• The Birl: An Electronic Wind Instrument Based on an Artificial Neural Network Parameter Mapping StructureJeff Snyder, Danny Ryan. 585-588 [doi]
• The Manipuller II: Strings within a Force Sensing RingAdrián Barenca, Milos Corak. 589-592 [doi]
• The Space Between Us. A Live Performance with Musical Score Generated via Emotional Levels Measured in EEG of One Performer and an Audience MemberJoel Eaton, Weiwei Jin, Eduardo Reck Miranda. 593-596 [doi]
• Unsounding Objects: Audio Feature Extraction for the Control of Sound SynthesisIan Hattwick, Preston Beebe, Zachary Hale, Marcelo M. Wanderley, Philippe Leroux, Fabrice Marandola. 597-600 [doi]
• Use of Body Motion to Enhance Traditional Musical InstrumentsFederico Visi, Rodrigo Schramm, Eduardo Reck Miranda. 601-604 [doi]
• Visualizing Gestures in the Control of a Digital Musical InstrumentOlivier Perrotin, Christophe d'Alessandro. 605-608 [doi]
• Tangible Scores: Shaping the Inherent Instrument ScoreEnrique Tomás, Martin Kaltenbrunner. 609-614 [doi]
• Striso, a Compact Expressive Instrument Based on a New Isomorphic Note LayoutPiers Titus van der Torren. 615-620 [doi]
• The OWL programmable stage effects pedal: Revising the concept of the on-stage computer for live music performanceThomas Webster, Guillaume LeNost, Martin Klang. 621-624 [doi]
• SPINE: A TUI Toolkit and Physical Computing HybridAristotelis Hadjakos, Simon Waloschek. 625-628 [doi]
• Andante: Walking Figures on the Piano Keyboard to Visualize Musical MotionXiao Xiao, Basheer Tome, Hiroshi Ishii. 629-632 [doi]