Abstract is missing.
- Vocable synthesisAlex McLean, Geraint A. Wiggins. [doi]
- The walking MachinePer Anders Nilsson. [doi]
- Telematic Music - Restrictions and Advantages Compared to Traditional One-Site Music EventsJonas Braasch. [doi]
- The Enigma of Vitruvian resonating Vases and the Relevance of the Concept for TodayRob Goodman. [doi]
- Constraint-Based Composition in RealtimeTorsten Anders, Eduardo R. Miranda. [doi]
- A Study into the perception of envelopment in Electroacoustic MusicSarah Adair, Michael Alcorn, Chris Corrigan. [doi]
- Freedom in Tapestrea! Voice-Aware Track ManipulationsTom Lieber, Ananya Misra, Perry R. Cook. [doi]
- Multicore Technologies in Jack and FAUSTYann Orlarey, Stéphane Letz. [doi]
- Evaluating the Wiimote as a Musical controllerChris Kiefer, Nick Collins, Geraldine Fitzpatrick. [doi]
- Textural Composition: Implementation of an Intermediary AestheticKerry L. Hagan. [doi]
- Nrci: Software Tools for Laptop EnsembleChristopher Burns, Greg Surges. [doi]
- "weeds in the cracks": interdisciplinarity and Music Technology in Higher EducationCarola Boehm. [doi]
- Network dramaturgy: being on the NodePedro Rebelo, Franziska Schroeder, Alain Renaud. [doi]
- What Next? Continuation in Real-Time Corpus-Based concatenative synthesisDiemo Schwarz, Sylvain Cadars, Norbert Schnell. [doi]
- Spectral synthesis and control with Cellular AutomataJaime Serquera, Eduardo R. Miranda. [doi]
- Foundations for on-the-Fly Learning in the Chuck Programming LanguageRebecca Fiebrink, Ge Wang, Perry R. Cook. [doi]
- The Lab for Creative arts & Technologies 2008 Studio ReportStephen David Beck. [doi]
- Digital Time: Complexity and perceptionDante Tanzi. [doi]
- Not being thereMiller Puckette. [doi]
- Interactive Swarm Orchestra a Generic Programming Environment for Swarm Based Computer MusicDaniel Bisig, Martin Neukom, John Flury. [doi]
- The effect of Air turbulence on sound and its Application to Musical signal ProcessingMatthew Bruns, Gary S. Kendall. [doi]
- A Multilayered Gdif-Based setup for Studying coarticulation in the movements of MusiciansAlexander Refsum Jensenius, Kristian Nymoen, Rolf Inge Godøy. [doi]
- An Instance Based Model for Generating Expressive Performance during CompositionAlexis Kirke, Eduardo R. Miranda. [doi]
- Introducing Asannotation: a Tool for sound Analysis and AnnotationNiels Bogaards, Chunghsin Yeh, Juan José Burred. [doi]
- Thoughts on Parallel Computing for MusicMiller Puckette. [doi]
- The Challenges and Opportunities of Multiple Processors: Why Multi-Core Processors are Easy and Internet is HardPeter Van Roy. [doi]
- Interactive Composition and Improvisation on the Hyper-FluteCléo Palacio-Quintin, Mark Zadel. [doi]
- Exploring Musical mappings and Generating Accompaniment with Chaotic SystemsEnrico Cupellini, Costantino Rizzuti, Eleonora Bilotta, Pietro Pantano, Michael Wozniewski, Jeremy R. Cooperstock. [doi]
- Digital Music Instruments and sound expressionPaulo Ferreira-Lopes, Filipe Jensen. [doi]
- Visualization Tools for Musical Timing Applied to Afro-Cuban PercussionMatthew Wright, W. Andrew Schloss, George Tzanetakis. [doi]
- Do You sound like your Friends? Exploring Artist Similarity via Artist Social Network Relationships and audio signal ProcessingBen Fields, Michael A. Casey, Kurt Jacobson, Mark B. Sandler. [doi]
- Cuando CANTO Bajan los Cerros: an Initiative for Interface Development Informed by a Latin-American ContextJosé Ignacio López Ramírez-Gastón. [doi]
- Towards bi-Dimensional Classification of Symbolic Music by Affective ContentAntónio Pedro Oliveira, Amílcar Cardoso. [doi]
- Playing the Network: the Use of Time delays as Musical DevicesJuan Pablo Cáceres, Alain Renaud. [doi]
- Antescofo: Anticipatory Synchronization and control of Interactive parameters in Computer MusicArshia Cont. [doi]
- Spatial Swarm GranulationScott Wilson. [doi]
- Studio Report: UC Berkeley Center for New Music and audio Technologies (CNMAT)Richard Andrews. [doi]
- A Game Theoretical Model for Musical InteractionGrace Leslie, Navid Hassanpour. [doi]
- Visual and sound Generation Driven by brain, heart and respiration signalsJean-Julien Filatriau, Loïc Kessous. [doi]
- Cross-Pollination: towards an Aesthetics of the RealTom Davis. [doi]
- Towards the Implementation of a Generic Platform for Networked Music Performance: the DIAMOUSES ApproachChrisoula Alexandraki, Panayotis Koutlemanis, Petros Gasteratos, Nikolas Valsamakis, Demosthenes Akoumianakis, Giannis Milolidakis. [doi]
- An Interactive Bio-Music Improvisation SystemKoray Tahiroglu, Hannah Drayson, Cumhur Erkut. [doi]
- Analogue to Digital: Authenticiy vs. Sustainability in Stockhausen's MANTRA (1970)Xenia Pestova, Mark T. Marshall, Jacob David Sudol. [doi]
- Interaction typologies : traditional music instruments versus digital music instrumentsPaulo Ferreira-Lopes. [doi]
- Drawing Electroacoustic MusicJean-Baptiste Thiebaut, Patrick G. T. Healey, Nick Bryan-Kinns. [doi]
- Continuamente: Integrating Percussion, audiovisual and ImprovisationJônatas Manzolli. [doi]
- Interoperability and the MARSYAS 0.2 RuntimeGeorge Tzanetakis, Randy Jones, Carlos Castillo, Luis Gustavo Martins, Luís Filipe Teixeira, Mathieu Lagrange. [doi]
- Studio Report: Digitópia at Casa da MúsicaRui Penha, Paulo Maria Rodrigues, Fabien Gouyon, Luis Gustavo Martins, Carlos Guedes, Álvaro Barbosa. [doi]
- Using the cordis-Anima Formalism for the Physical Modeling of the Greek zournas ShawmAlexandros Kontogeorgakopoulos, Panagiotis Tzevelekos, Claude Cadoz, Georgios Kouroupetroglou. [doi]
- {TranSpell}Kazuaki Shiota. [doi]
- Resound: Open-Source Live sound spatialisationJames Mooney, David Moore. [doi]
- Our Research for lost Route to RootJérôme Barthélemy, Alain Bonardi, Guillaume Boutard, Raffaele Ciavarella. [doi]
- Conditions for Development of an Interchange Format for Spatial audioEric D. Lyon. [doi]
- Rhythmic Analysis for Real-Time audio effectsAdam M. Stark, Matthew E. P. Davies, Mark D. Plumbley. [doi]
- A low-Cost spherical loudspeaker array for Electroacoustic MusicPeter Lucas Hulen. [doi]
- The Networked Performance Project for LO SPECCHIO Confuso dall'ombra of Roberto GirolinAntonio Camurri, Corrado Canepa, Paolo Coletta, Simone Ghisio, Roberto Girolin, Gualtiero Volpe. [doi]
- The Worldscape Laptop Orchestra: Creating Live, Interactive Digital Music for an Ensemble of Fifty performersAlexander Harker, Angie Atmadjaja, Jethro Bagust, Ambrose Field. [doi]
- Owt: a Real-Time Optimal Tuning ApplicationWei Pan, Micah K. Johnson, Larry Polansky, Daniel Rockmore, Douglas Repetto. [doi]
- Multi-Agent Multimodal Performance AnalysisArne Eigenfeldt, Ajay Kapur. [doi]
- Spectral spatialization - an OverviewDavid Kim-Boyle. [doi]
- Multi-User hand Gesture Based Musical element Mapping with Traditional Musical ElementsTo Yip Sang, Kam Wong. [doi]
- Design and Development of an Interactive Sonification Interface for hearing ImagesCharles O'Neill, Kia Ng. [doi]
- Comper: towards a Model for Generating Compositions from Expressive Music performancesAlexis Kirke, Eduardo R. Miranda. [doi]
- Proposing Spatdif - the Spatial sound Description Interchange FormatNils Peters. [doi]
- The Spatial Politics of Radio: Anna Friz's Critical UtopiasGascia Ouzounian. [doi]
- Voice synthesis usingthe generalized pressure-Controlled valveTamara Smyth, Alireza Fathi. [doi]
- Interactive audio signal ScriptingVictor Lazzarini. [doi]
- Automatic Fitness in Generative Jazz ImprovisationKjell Bäckman. [doi]
- Errant sound synthesisNick Collins. [doi]
- Novel percussive Instrument Design - Converting Mathematical Formulae into engaging Musical InstrumentsKatarzyna Chuchacz, Roger F. Woods, Sile O'Modhrain. [doi]
- Technology, Culture and Location in a Recent New Zealand Sonic Art ProjectIan Whalley. [doi]
- Visualisation of Musical Structure by Applying Improved Editing AlgorithmsPierre Hanna, Matthias Robine, Pascal Ferraro. [doi]
- A comment on Many-Core Computing and Real-Time audio Software Systems (2008)Ge Wang. [doi]
- Rameau: a System for Automatic harmonic AnalysisPedro Kröger, Alexandre Passos, Marcos Sampaio. [doi]
- Victoria counts - a Case Study with Electronic Violin BowKnut Guettler, Hans Wilmers, Victoria Johnson. [doi]
- Expressive Irish Fiddle Performance Model Informed with BowingAlfonso Pérez, Esteban Maestre, Stefan Kersten, Rafael Ramirez. [doi]
- Scoring the Color of WaitingMargaret Schedel, Alison Rootberg. [doi]
- Reinventing Audio and Music Computation for Many-Core ProcessorsDavid Wessel, Roger B. Dannenberg, Yann Orlarey, Miller Puckette, Peter Van Roy, Ge Wang. [doi]
- Pattern-Specific Piano Exercise RetrievalMin-Joon Yoo, In-Kwon Lee. [doi]
- The cyclotron: a Tool for Playing with TimeDaniel Trueman. [doi]
- Controlling Spatial sound within an Installation Art ContextTrond Lossius. [doi]
- Split-sideband synthesisVictor Lazzarini, Joseph Timoney, Thomas Lysaght. [doi]
- Composing for Relative Time in Distributed PerformanceRobert Rowe. [doi]
- Ontology Management for Preservation of Interactive Multimedia performancesKia Ng, Alexander Mikroyannidis, Bee Ong, Alain Bonardi, Jérôme Barthélemy, Raffaele Ciavarella. [doi]
- Exporing New Composer/Performer Interactions using Real-Time NotationChristopher McClelland, Michael Alcorn. [doi]
- Composing with Brainwaves: Minimal Trial P300 Recognition as an Indication of subjective Preference for the control of a Musical InstrumentMick Grierson. [doi]
- Realtime Music Programming using snd-RTKjetil Matheussen. [doi]
- Implementation and Applications of Open sound control TimestampsAndy Schmeder, Adrian Freed. [doi]
- Vimic - a Novel Toolbox for Spatial sound Processing in Max/MSPNils Peters, Tristan Matthews, Jonas Braasch, Stephen McAdams. [doi]
- The Use of Mel-frequency Cepstral Coefficients in Musical Instrument IdentificationRóisín Loughran, Jacqueline Walker, Michael O'Neill, Marion O'Farrell. [doi]
- Maxscore: Music Notation in Max/MSPNick Didkovsky, Georg Hajdu. [doi]
- Richard Wagner was the First Network ArtistAndrew Gerzso. [doi]
- The Mexican Centre for Music and Sonic arts Studio ReportRodrigo Sigal. [doi]
- Autonomous Development of singing-like Intonations by interacting babbling robotsEduardo R. Miranda. [doi]
- Towards an Interchange Format for Spatial audio ScenesGary S. Kendall, Nils Peters, Matthias Geier. [doi]
- Ambisonics Equivalent PanningMartin Neukom, Jan C. Schacher. [doi]
- Authenticity and Emulation: Chiptune in the Early Twenty-First CenturySebastian Tomczak. [doi]
- Sound Communication: a Standard Syntax for Inter-Application, Inter-Device and Interplayer Communication over OSCScott Hewitt, Pierre-Alexandre Tremblay. [doi]
- Novars Research Centre, University of Manchester, UK. Studio ReportRicardo Climent, David Berezan, Andrew Davison. [doi]
- The MusicDB: A Music Database Query System for Recombinance-based Composition in Max/MSPJames B. Maxwell, Arne Eigenfeldt. [doi]
- Reinforcement Learning for Live Musical AgentsNick Collins. [doi]
- Project Lovelace: teenage girls and Technology-Based CompositionMary Simoni, Betty Anne Younker. [doi]
- Ccrma Studio ReportCarr Wilkerson, Sasha Leitman, Fernando Lopez-Lezcano. [doi]
- The BigBang Rubette: gestural Music Composition with Rubato ComposerFlorian Thalmann, Guerino Mazzola. [doi]
- High-Performance audio Computing - a position PaperRichard Dobson, John ffitch, Russell J. Bradford. [doi]
- Technology, Real-Time Notation, and Audience Participation in FlockJason Freeman, Mark Godfrey. [doi]
- Asdf: audio Scene Description FormatMatthias Geier, Sascha Spors. [doi]
- Time after Time : Short-circuiting the Emotional Distance between Algorithm and Human ImprovisorsDavid Plans Casal. [doi]
- Two Cross-Platform Csound-Based Plugin GeneratorsVictor Lazzarini, Rory Walsh, Martin Brogan. [doi]
- Voice separation in Polyphonic Music: a Data-Driven ApproachAnna Jordanous. [doi]
- A Toolkit for Music and audio Activities on the XO ComputerVictor Lazzarini. [doi]
- Spatial audio Authoring and Rendering: Forward Research through ExchangeGabriel Gatzsche, Frank Melchior. [doi]
- Stochastic resonance sound synthesisRodrigo F. Cádiz, Patricio de la Cuadra. [doi]
- Performing the City: An Urban Performance WorkshopG. Douglas Barrett, Francesco Gagliardi 0004. [doi]
- Networked Sonic SpacesJérôme Joy, Peter Sinclair. [doi]
- Introducing video Features and spectral Descriptors in the Omax Improvisation SystemGeorges Bloch, Shlomo Dubnov. [doi]
- Music and Gesture File: Performance Visualisation, Analysis, Storage and ExchangeStuart Pullinger, Douglas McGilvray, Nicholas J. Bailey. [doi]
- Iklax: a New Musical audio Format for Interactive MusicFabien Gallot, Owen Lagadec, Myriam Desainte-Catherine, Sylvain Marchand. [doi]
- Ounk - an audio Scripting Environment for signal Processing and Music CompositionOlivier Bélanger. [doi]
- Out of Sync: a Simple Score Based GUI for quick Correction in Performer Computer InteractionJohn Chowning. [doi]
- Adaptive bottleKamil Adiloglu, Robert Anniés, Klaus Obermayer, Yon Visell, Carlo Drioli. [doi]
- In flux - a New Approach to sound diffusion Performance Practice for fixed Media MusicDavid Berezan. [doi]
- Intercultural Exploration: the Computer and Traditional Music CulturesMara Helmuth. [doi]
- Towards 'a Beautiful land': the Influence of Rothko and Abstract expressionism in Composing five panels (no. 5)Mathew Adkins. [doi]
- Infno: Generating Synth Pop and Electronic Dance Music on demandNick Collins. [doi]
- Synthbot: an Unsupervised Software synthesizer ProgrammerMatthew Yee-King, Martin Roth. [doi]
- Implicit Physiological Interaction for the Generation of Affective Musical soundsSylvain Le Groux, Aleksander Väljamäe, Jônatas Manzolli, Paul F. M. J. Verschure. [doi]
- A Unified Model for Audioand control signals in PwglsynthVesa Norilo, Mikael Laurson. [doi]
- Real-Time Composition and Notation in Network Music EnvironmentsGeorg Hajdu. [doi]
- Sensor BOWS & Application for Stringed InstrumentsKeith A. McMillen. [doi]
- Stability Space and the below-n Threshold: a Computational Approach to Music AnalysisMike Solomon. [doi]
- Digital Music Collections: a Place of Knowledge Emergence?Francis Rousseaux, Alain Bonardi, Benjamin Roadley. [doi]
- Networked Music : low & High TechPauline Oliveros. [doi]
- Articulated noiseEric D. Lyon. [doi]
- The Rosegarden Codicil: Rehearsing Music in nineteen-tone equal TemperamentNicholas J. Bailey, Douglas McGilvray, Graham Hair, Ingrid Pearson, Amanda Morrison, Richard Parncutt. [doi]
- Applications of Geoscientific Sonification: Preliminary Results - where is my reservoir?Samantha Brough. [doi]
- Adaptive Melodic Segmentation and Motivic identificationGreg Wilder. [doi]
- Network Musics - Play, engagement and the Democratization of PerformanceDavid Kim-Boyle. [doi]
- Designing New Instruments for the Human touch - Case SorminaJuhani Räisänen. [doi]
- Interchange Formats and the Art of Spatial audioGary S. Kendall. [doi]
- Melody Morphing Method Based on GTTMMasatoshi Hamanaka, Keiji Hirata, Satoshi Tojo. [doi]
- Goldsmiths Electronic Music Studios: 40 YearsMichael Young, John Drever, Mick Grierson, Ian Stonehouse. [doi]
- Improvements of Symbolic Key Finding MethodsMatthias Robine, Thomas Rocher. [doi]
- I-Maestro: Technology-Enhanced Learning for MusicKia Ng, Tillman Weyde, Paolo Nesi. [doi]
- Survey of Music Analysis and Visualization Tools in PWGLMika Kuuskankare, Mikael Laurson. [doi]
- Interchange Formats for Spatial audioStephen Travis Pope. [doi]
- Music that Listens to What's Going to Happen: Internet Enhanced, Self-Adapting soundscapesAndrea Cera. [doi]
- WHAT IS AN EVENT? The EVENT Schema, Circumstances, Metaphor And GistGary S. Kendall. [doi]
- Do Mobile phones Dream of Electric Orchestras?Ge Wang, Georg Essl, Henri Penttinen. [doi]
- A Full-body Gesture Recognition System and its Integration in the Composition "3rd. Pole"Miha Ciglar. [doi]
- Analysis-synthesis Model for transient Impact sounds by stationary Wavelet transform and singular Value DecompositionAhmad Wasim, Hüseyin Hacihabiboglu, Ahmet M. Kondoz. [doi]
- Tapping into the Internet as an acoustical and Musical MediumChris Chafe. [doi]
- Interactive Swarm Orchestra an Artificial Life Approach to Computer MusicDaniel Bisig, Martin Neukom, John Flury. [doi]
- Not Just More FMS: Taking IT to the Next LevelTae Hong Park, Zhiye Li, Jonathan Biguenet. [doi]
- Tabla Gyan: a System for Realtime Tabla Recognition and resynthesisParag Chordia, Alex Rae. [doi]
- Two Approaches for Interaction Management in Timbre-Aware Improvisation SystemsWilliam Hsu. [doi]
- Remote 3D-audio Performance with spatialized DistributionWinfried Ritsch, Thomas Musil, Alois Sontacchi, Johannes Zmölnig, Franz Zotter. [doi]
- Data-Driven Recomposition using the Hierarchical Dirichlet Process Hidden Markov ModelMatthew D. Hoffman, Perry R. Cook, David M. Blei. [doi]
- The Music Technology Program at McGill UniversityGary P. Scavone, Nathan Whetsell. [doi]
- Integrated Recognition System for Music ScoresArtur Capela, Jaime S. Cardoso, Ana Rebelo, Carlos Guedes. [doi]
- The Nyquist Composition Environment: Supporting Textual Programming with a Task-Oriented User InterfaceRoger B. Dannenberg. [doi]
- Fracturing the Acousmatic: Merging Improvisation with Disassembled Acousmatic MusicAdrian Moore 0002. [doi]
- An Efficient off-Line beat tracking Method for Music with steady TempoBee Suan Ong, Sebastian Streich. [doi]
- Higher-order Constraint applicators for Music Constraint ProgrammingTorsten Anders, Eduardo R. Miranda. [doi]
- Popularity of Music Player parameters and FeaturesJukka Holm. [doi]
- Investigating Artistic potential of the Dream Interface: the Aural PaintingIvica Ico Bukvic, Denis Gracanin, Francis K. H. Quek. [doi]
- Teatracks: a demonstration of an auditory display of a Multitrack sound SequencerJulio D'Escrivan, Jan Trützschler von Falkenstein. [doi]
- "Underground sounds" Experimenting with the sounds of EarthquakesAnna Saranti, Manuela Meier. [doi]
- How to Make your Wife Listen: the portrayal of women in Music Technology PublicationsKristine H. Burns. [doi]
- Two Network Installations: '1133' & 'Computer Voices'Vincent Akkermans, Than van Nispen tot Pannerden. [doi]
- Adapting Polyphonic pickup Technology for Spatial Music PerformanceEnda Bates, Dermot Furlong, Donnacha Dennehy. [doi]
- Recent Developments in the Different Strokes EnvironmentMark Zadel, Gary P. Scavone. [doi]
- Polyphonic note tracking using Multimodal Retrieval of Musical EventsGarry Quested, Roger Boyle, Kia Ng. [doi]
- Is Music Audio Processing Embarrassingly Parallel?Roger B. Dannenberg. [doi]
- A Music Loop Explorer SystemSebastian Streich, Bee Suan Ong. [doi]
- Equipping Artificial Guitar Players with Biomechanical Constrains: a Case Study of Precision and SpeedLeandro Lesqueves Costalonga, Eduardo R. Miranda. [doi]
- Flexible control of Composite parameters in Max/MSPTimothy A. Place, Trond Lossius, Alexander Refsum Jensenius, Nils Peters. [doi]
- The Importance of Husserl's phenomenology of Internal Time-Consciousness for Music Analysis and CompositionGeorg Boenn. [doi]
- Analysis, Visualization, and Transformation of audio signals using Dictionary-Based MethodsBob L. Sturm, Curtis Roads, Aaron McLeran, John J. Shynk. [doi]
- Construction of an Electronic Timbre Dictionary for Environmental sounds by Timbre symbolYohei Kobayashi, Naotoshi Osaka. [doi]
- Q3osc or: How I Learned to Stopworrying and Love the Bomb GameRobert Hamilton. [doi]
- Maintaining and using Provenance Data in Computer MusicJohn ffitch, Julian Padget. [doi]
- Development of a Real-Time gestural Interface for hands-Free Musical Performance controlKlaus Petersen, Jorge Solis, Atsuo Takanishi. [doi]
- Generating Targeted rhythmic Exercises for Music Students with Constraint Satisfaction ProgrammingGraham Percival, Torsten Anders. [doi]
- Parameter Controlled Remote Performance (Pcrp): Playing Together Despite High delayAristotelis Hadjakos, Erwin Aitenbichler, Max Mühlhäuser. [doi]
- Computer input Device for Polyphonic Stringed InstrumentsKeith A. McMillen. [doi]
- The Silent Drum controller: a New percussive gestural InterfaceJaime Oliver, Mathew Jenkins. [doi]