Table of Contents

• An Augmented Snare DrumRobin Gray, Simon Lindsell, Rachael Minster, Ian M. Symonds, Kia Ng. [doi]
• Synaesthetic Analysis, Exploring Music Structures by Multimedia Representation. PrometheusZ12, a Novel 3D Visualization ToolPaolo Tagliolato. [doi]
• Improving the Sound Quality of Recordings Through Communication between Musicians and Sound EngineersAmandine Pras, Catherine Guastavino. [doi]
• G³: GENESIS Software Environment UpdateNicolas Castagné, Claude Cadoz, Ali Allaoui, Olivier Tache. [doi]
• Scalability in Content-Based Navigation of Sound DatabasesDiemo Schwarz, Norbert Schnell, Sebastien Gulluni. [doi]
• Stanford Laptop Orchestra (SLOrk)Ge Wang, Nicholas J. Bryan, Jieun Oh, Robert Hamilton. [doi]
• Timbral Migration: Stochastic Processes for the Control of Smooth Spectral TransformationJohn MacCallum, Andrew Schmeder, David Wessel. [doi]
• Alter Ego: A Generative Music Creation SystemJan Trützschler von Falkenstein, Tom Tlalim. [doi]
• Projecting Finger Placement onto the FretboardJörn Loviscach. [doi]
• Bowsense - An Open Wireless Motion Sensing PlatformHans Wilmers. [doi]
• Melody Extrapolation in GTTM ApproachMasatoshi Hamanaka, Keiji Hirata, Satoshi Tojo. [doi]
• Conservative Garbage Collectors for Realtime Audio ProcessingKjetil Matheussen. [doi]
• Flocking in the Time/Dissonance PlaneAdam James Wilson. [doi]
• Efficient Gesture Storage and Retrieval for Multiple Applications Using a Relational Data Model of Open Sound ControlAndrew Schmeder. [doi]
• PAPAGEI: An Extensible Automatic Accompaniment System for Live Instrumental ImprovisationSalman Bakht, Clarence Barlow. [doi]
• Musical Nonlinearity in Interactive Narrative EnvironmentsAxel Berndt. [doi]
• GROMA. Aesthetical Issues of Developing an Urban, Permanent, Site-Specific Sound InstallationJudith Nordbrock. [doi]
• Sonifying Sieves: Synthesis and Signal Processing Applications of the Xenakis Sieve with Python and CsoundChristopher Ariza. [doi]
• JackTrip: Under the Hood of an Engine for Network AudioJuan Pablo Cáceres, Chris Chafe. [doi]
• Post-Processing Fiddle~: A Real-Time Multi-Pitch Tracking Technique Using Harmonic Partial Subtraction for Use within Live Performance SystemsAndrew Robertson, Mark D. Plumbley. [doi]
• Augmenting Computer Music with Just-In-Time CompilationWesley Smith, Graham Wakefield. [doi]
• jMIR: Tools for Automatic Music ClassificationCory McKay, Ichiro Fujinaga. [doi]
• CCRMA Studio ReportCarr Wilkerson, Fernando Lopez-Lezcano. [doi]
• Synthesizing Ghost Voices in Ghost Winds TalkingLydia Ayers, Andrew Horner. [doi]
• Electroacoustic, Creative, and Jazz: Musicians Negotiating BoundariesRobert J. Gluck. [doi]
• Structured Representation of Harmony for Music RetrievalMatthias Robine, Pierre Hanna, Thomas Rocher, Pascal Ferraro. [doi]
• Play-Along Mapping of Musical ControllersRebecca Fiebrink, Perry R. Cook. [doi]
• Perceptually Motivated Sonification of Moving ImagesJean-Marc Pelletier. [doi]
• Counterlines: Studies in Interfacing Graphic and Melodic LinesJaroslaw Kapuscinski, Javier Sánchez. [doi]
• Synergetic Strategies in the Development of Music Technology and Multimedia in the North American HeartlandJeremy Castro Baguyos. [doi]
• The Pre-Production Process of New York Counterpoint for Clarinet and Tape Written by Steve ReichAmandine Pras, François-Xavier Féron, Kaïs Demers. [doi]
• [60]Project: Conception, Composition and ArchivingMonty Adkins, Michael Gatt. [doi]
• Real-Time Chord Recognition for Live PerformanceAdam M. Stark, Mark D. Plumbley. [doi]
• Automatic Score Generation with FOMUSDavid Psenicka. [doi]
• Music Analysis and Spectral Modeling Based on Cubic B-SplinesDaniel Möhlmann, Otthein Herzog, Thomas Wagner. [doi]
• Bowing Models for String PlayersCordelia V. Hall, John T. O'Donnell, Bill Findlay. [doi]
• Haptic Feedback for Different Strokes Using DIMPLEMark Zadel, Stephen Sinclair, Marcelo M. Wanderley. [doi]
• Data-Driven Stastical Modeling of Violin Bowing Gesture Parameter ContoursEsteban Maestre. [doi]
• Bayesian Spectral Matching: Turning Young MC into MC Hammer via MCMC SamplingMatthew D. Hoffman, Perry R. Cook, David M. Blei. [doi]
• MuBu and Friends - Assembling Tools for Content Based Real-Time Interactive Audio Processing in Max/MSPNorbert Schnell, Axel Röbel, Diemo Schwarz, Geoffroy Peeters, Riccardo Borghesi. [doi]
• Common Music 3Heinrich Taube. [doi]
• Using Regular Expressions to Express Bowing Patterns for String PlayersCordelia V. Hall, John T. O'Donnell. [doi]
• Orchestral Accompaniment for a Reproducing PianoChristopher Raphael, Yupeng Gu. [doi]
• The Interactive Event Manager (IEM): A Performer's Approach to Interactive System DesignDavid Brooke Wetzel. [doi]
• "The Fingers" - A Tribute to "The Hands"Dan Overholt. [doi]
• Lyric-Based Rhythm SuggestionEric Nichols. [doi]
• Real-Time Implementation of HMM-Based Chord Estimation in Music AudioTaemin Cho, Juan Pablo Bello. [doi]
• Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and PerformancePierre-Alexandre Tremblay, Scott Mclaughlin. [doi]
• Sawtooth: Interface as VisualizationChristopher Burns. [doi]
• Software for Teaching Music TheoryHeinrich Taube, William Andrew Burnson. [doi]
• An Object Oriented Model for the Representation of Temporal Data in the Integra FrameworkJamie Bullock, Henrik Frisk. [doi]
• On Artistic Research in the Context of the Project Embodied Generative MusicGerhard Eckel, David Pirrò. [doi]
• A Robust Border Detection Algorithm with Application to Medieval Music ManuscriptsYue Ouyang, John Ashley Burgoyne, Laurent Pugin, Ichiro Fujinaga. [doi]
• Smule = Sonic Media: An Intersection of the Mobile, Musical, and SocialGe Wang, Georg Essl, Jeff Smith, Spencer Salazar, Perry R. Cook, Robert Hamilton, Rebecca Fiebrink, Jonathan Berger, David Zhu, Mattias Ljungstrom, Arnaud Berry, Jennifer Wu, Turner Kirk, Elon Berger, Jillian Segal. [doi]
• Handling Asynchrony in Audio-Score AlignmentJohanna Devaney, Daniel P. W. Ellis. [doi]
• Streaming from MIDI Using Constraint Satisfaction Optimization and Sequence AlignmentBen Duane, Bryan Pardo. [doi]
• Localisation of Subwoofers in Concert Hall EnvironmentRobert Sazdov. [doi]
• DBAP - Distance-Based Amplitude PanningTrond Lossius, Pascal Baltazar, Théo de la Hogue. [doi]
• 2084 - Brave Creative World: Creativity in the Computer Music CurriculumCarola Boehm. [doi]
• Not Just Prettier: FMS Marches OnTae Hong Park, Zhiye Li. [doi]
• Midivis: Visualizing Music Structure via Similarity MatricesJacek Wolkowicz, Stephen Brooks, Vlado Keselj. [doi]
• Toward Synthesized Environments: A Survey of Analysis and Synthesis Methods for Sound Designers and ComposersAnanya Misra, Perry R. Cook. [doi]
• Dynamic Chord Analysis for Symbolic MusicThomas Rocher, Matthias Robine, Pierre Hanna, Robert Strandh. [doi]
• SoundCipher: A Music and Sound Library for ProcessingAndrew R. Brown. [doi]
• Organizing Mass-Interaction Physical Models: the CORDIS-ANIMA Musical InstrumentariumOlivier Tache, Claude Cadoz. [doi]
• The CIRMMT/McGill Digital Orchestra ProjectXenia Pestova, Erika Donald, Heather Hindman, Joseph Malloch, Mark T. Marshall, Fernando Rocha, Stephen Sinclair, D. Andrew Stewart, Marcelo M. Wanderley, Sean Ferguson. [doi]
• Structure and Psychoacoustic Perception of the Electroacoustic SoundscapeManuel Rocha Iturbide. [doi]
• Situated Interactive Music System: Connecting Mind and Body Through Musical InteractionSylvain Le Groux, Paul F. M. J. Verschure. [doi]
• Musical Analysis of Conducting Gestures Using Methods from Computer VisionTeresa Marrin Nakra, Andrea Salgian, Micheal Pfirrmann. [doi]
• The ORA Project: Audio-Visual Live Electronics and the Pipe OrganChristophe d'Alessandro, Markus Noisternig, Sylvain Le Beux, Lorenzo Picinali, Brian F. G. Katz, Christian Jacquemin, Rami Ajaj, Bertrand Planes, Nicolas Sturmel, Nathalie Delprat. [doi]
• Towards a Comprehensive Cognitive Analysis of Delay-Influenced Rhythmical InteractionAlexander Carôt, Christian Werner, Timo Fischinger. [doi]
• Silver Apples, Electric Circus, Electronic Arts, and Commerce in Late 1960s New YorkRobert J. Gluck. [doi]
• All Natural Room EnhancementKyle Spratt, Jonathan S. Abel. [doi]
• Infinite Suite: Computers and Musical FormGuillermo Pozzati. [doi]
• An Analysis of Interviews with Composers From a Cognitive Styles PerspectiveJenny Carter, Barry Eaglestone, Nigel Ford, Peter G. Holdridge. [doi]
• Evolutionary Spectral Envelope Morphing by Spectral Shape DescriptorsMarcelo F. Caetano, Xavier Rodet. [doi]
• Reflections on Spent Time (abstract; full paper is on page 561)Paul Lansky. [doi]
• Advantages and Limitations of Simulating Percussion Gestures for Sound SynthesisAlexandre Bouënard, Marcelo M. Wanderley, Sylvie Gibet. [doi]
• Appliance of Music Information Retrieval System for Arabian Woodwinds in Music EducationFadi M. Al-Ghawanmeh, Mohammad T. Al-Ghawanmeh, Rami N. Haddad. [doi]
• Bridges for Networked Musical EnsemblesLonce Wyse, Norikazu Mitani. [doi]
• The Process of Entrainment and its Application to Computer MusicDonal O'Brien, R. Benjamin Knapp. [doi]
• New Methods of Formant Analysis-Synthesis for Musical ApplicationsVictor Lazzarini, Joseph Timoney. [doi]
• Beyond Concatenation: Some Ideas for the Creative Use of Corpus-Based Sonic MaterialThomas M. Stoll. [doi]
• Polyphonic Embouchure on an Intricately Expressive Musical Keyboard Formed by an Array of Water JetsSteve Mann, Ryan E. Janzen. [doi]
• Hierarchical Markov Modeling for Generative MusicChris Thornton. [doi]
• Scape Synthesis: Generation of a Novel Acoustical Space Based on Auditory Perceptual FeaturesShoichi Koyama, Risa Suzuki. [doi]
• Detachable Polyphonic Pickup for Bowed Stringed InstrumentsKeith A. McMillen, Ken Holt. [doi]
• SoundMaker: a Web-Based Teaching Tool for Sound DesignRyan Cavis, Sever Tipei, Volodymyr V. Kindratenko. [doi]
• An Electronic Timbre Dictionary and 3D Timbre DisplayNaotoshi Osaka, Yoshinori Saito, Shinya Ishitsuka, Yasuhiro Yoshioka. [doi]
• Realtime Selection of Percussion Samples Through Timbral Similarity in Max/MSPArne Eigenfeldt, Philippe Pasquier. [doi]
• Valuing Our Heritage: Exploring Spatialisation Through Software Emulation of Stockhausen's OktophonieMichael Clarke, Peter Manning. [doi]
• 3D Panner: A Compositional Tool for Binaural Sound SynthesisTugba Tatli. [doi]
• Estimating the Reed Pulse from Clarinet RecordingsTamara Smyth, Jonathan S. Abel. [doi]
• 1-D, 2-D and 3-D Interpolation Tools for Max/MSP/JitterTodor Todoroff, Loïc Reboursière. [doi]
• Studio Report: Computer Music Activities at the Interdisciplinary Nucleus of Sound CommunicationJônatas Manzolli, Adolfo Maia, José Fornari, Marcelo F. Caetano. [doi]
• A Cultural Approach toward the Notion of the InstrumentChristoph Brunner. [doi]
• Compensating for Expressiveness in Queries to a Content Based Music Information Retrieval SystemBryan Duggan, Brendan O'Shea, Mikel Gainza, Pádraig Cunningham. [doi]
• Women Innovators: Technology-Based Music TherapyJaclyn Heyen. [doi]
• Perceptually Based Pitch Scales in Cepstral Techniques for Percussive Timbre IdentificationWilliam Brent. [doi]
• Motion Capture, Analysis and Feedback to Support Learning ConductingDavid Bradshaw, Kia Ng. [doi]
• Corpus-Based Transcription as an Approach to the Compositional Control of TimbreAaron Einbond, Diemo Schwarz, Jean Bresson. [doi]
• A Symbolic Sonification of L-SystemsAdam James Wilson. [doi]
• Use of Decision Tree to Detect GTTM Group BoundariesYuji Miura, Masatoshi Hamanaka, Keiji Hirata, Satoshi Tojo. [doi]
• μ Max-Unity3D Interoperability ToolkitIvica Ico Bukvic, Ji-Sun Kim. [doi]
• Reflections on Spent TimePaul Lansky. [doi]
• Hidden City: 'Being with' in Improvised PerformanceStephen Whittington, Luke Harrald. [doi]
• Automatic Musical Fountain Scenario Generation Using Musical Information AnalysisMin-Joon Yoo, In-Kwon Lee. [doi]
• Pattern Recognition of Emotional States During Musical Performance from Physiological SignalsJavier Jaimovich, R. Benjamin Knapp. [doi]
• Interactive Composing as the Expression of Autonomous Machine MotivationsPeter Beyls. [doi]
• Instruction and Thread Level Parallelism in PWGLSynth 2Vesa Norilo, Mikael Laurson. [doi]
• Imaginal Listening and Phenomena of Sound-Images in Electroacoustic MusicSuk-Jun Kim. [doi]
• Rhythmic Practice in Music for Small Ensemble and TapeShiau-uen Ding. [doi]
• Role-Reversal: Max/MSP as an Audio Engine for JavaRichard Polfreman. [doi]
• Spatial Composition in the Multi-Channel Domain: Aesthetics and TechniquesEwan Stefani, James Mooney. [doi]
• Conservative Garbage Collectors for Realtime Audio Processing (incomplete; the full paper is on page 569)Kjetil Matheussen. [doi]
• For Jean-Claude: [re]Presenting Duet for One PianistChryssie Nanou, Robert Hamilton. [doi]
• Ntccrt: A Concurrent Constraint Framework for Real-Time InteractionMauricio Toro-Bermúdez, Camilo Rueda, Carlos Agón, Gérard Assayag. [doi]
• JDubiel: A Java Applet for Pitch-Class Set AnalysisAkira Takaoka. [doi]
• Parallel Execution of CsoundJohn ffitch. [doi]
• Real-time Interactive 3D Audio and Video with jRealityPeter Brinkmann, Steffen Weißmann. [doi]
• Audioscapes: Exploring Surface Interfaces for Music ExplorationSteven R. Ness, George Tzanetakis. [doi]
• Audio Graffiti: A Location Based Audio-Tagging and Remixing EnvironmentZack Settel, Mike Wozniewski, Nicolas Bouillot, Jeremy R. Cooperstock. [doi]
• ScoreIlluminator: Automatic Illumination of Orchestra Scores for Readability ImprovementMasaki Matsubara, Hiroyuki Okamoto, Tomohisa Sano, Hiroya Susuki, Shiho Hoshi Nobesawa, Hiroaki Saito. [doi]
• Tijuana Sound Arts Project: A Nomadic Studio ReportJosé Ignacio López Ramírez-Gastón. [doi]
• SOMba: Multiuser Music Creation Using Self-Organizing Maps and Motion TrackingSteven R. Ness, George Tzanetakis. [doi]
• Calibration Method to Measure Accurate Bow Force for Real Violin PerformancesEnric Guaus, Jordi Bonada, Esteban Maestre, Alfonso Pérez, Merlijn Blaauw. [doi]
• Audio-Haptic Interaction with the Digital Waveguide Bowed StringStephen Sinclair, Gary P. Scavone, Marcelo M. Wanderley. [doi]
• Cody's Corner: Design and Implementation of an Elementary School Computer Music InstallationJoel Rathgaber, David Gerhard. [doi]
• Ecosystem Models for Real-Time Generative Music: A Methodology and FrameworkOliver Bown. [doi]