Abstract is missing.
- The NLN-Player: A system for nonlinear music in gamesThan van Nispen tot Pannerden, Sander Huiberts, Sebastiaan Donders, Stan Koch. [doi]
- SCMIR: A SuperCollider Music Information Retrieval LibraryNick Collins. [doi]
- Chor-Respondent: A dynamic system in the musical domainOliver Hancock. [doi]
- Exploring the potential of the dedicated XML syntax for diatonic harmonica tablaturesVladimir Tomberg, Eugene Ivanov, Mart Laanpere. [doi]
- Sound synthesis and composition with compression-controlled feedbackBret Battey. [doi]
- A Graphical User Interface for Supercollider Audio UnitsJan Trützschler von Falkenstein, Zlatko Baracskai. [doi]
- A similarity algorithm for interactive style imitationAengus Martin, Craig T. Jin, Alistair McEwan, William L. Martens. [doi]
- Anton - A Rule-Based Composition SystemGeorg Boenn, Martin Brain, Marina De Vos, John ffitch. [doi]
- Concepts and Practical Considerations of Platform-Independent Design of Mobile Music EnvironmentsJong Wook Kim, Georg Essl. [doi]
- Aspects of second order feedback AM synthesisVictor Lazzarini, Jari Kleimola, Joseph Timoney, Vesa Välimäki. [doi]
- CYCLIC-N, a real-time mobile multi-touch application for composition, improvisation and educationMingfei Mike Gao. [doi]
- Analysis and Synthesis of Hand Clapping Sounds Based on Adaptive DictionaryAhmad Wasim, Ahmet M. Kondoz. [doi]
- Variable 4: A Dynamical Composition For Weather SystemsJames Bulley, Daniel Jones. [doi]
- Modeling Speed Doubling in Carnatic MusicSrikumar Subramanian, Lonce Wyse, Kevin McGee. [doi]
- Using the iPhone for live-electronics in my composition Irrgaerten for two pianosHans Tutschku. [doi]
- Audio Technology at American UniversityPaul Oehlers, William Brent, Michael Harvey. [doi]
- A Virtual Orchestra for Human-Computer Music PerformanceRoger B. Dannenberg. [doi]
- The IXI Lang: A SuperCollider Parasite for Live CodingThor Magnusson. [doi]
- What are we making? The work-without-content in live computer musicJonathan Impett. [doi]
- Real-time Sliding Phase Vocoder using a Commodity GPURussell J. Bradford, John ffitch, Richard Dobson. [doi]
- Composing with Absent SoundChristopher Haworth. [doi]
- The influence of sub-woofer frequencies within a multi-channel loudspeaker configuration on the perception of spatial attributes in a concert hall environmentRobert Sazdov. [doi]
- Sound Synthesis with a New Elasticity ModelPatrick Sanan. [doi]
- Prioritizing Audio Features Selection Using Analysis Hierarchy Process As A Mean To Extend User Control In Concatenative Sound SynthesisNoris Mohd. Norowi, Eduardo R. Miranda. [doi]
- Control: Software for End-User Interface Programming and Interactive PerformanceCharles Roberts. [doi]
- The ModFM Synthesis VocoderVictor Lazzarini, Joseph Timoney. [doi]
- XTH SENSE: a study of muscle sounds for an experimental paradigm of musical performanceMarco Donnarumma. [doi]
- KLANGPILOT - a new interface for "writing" (not only) synthetic soundsJohannes Kretz. [doi]
- Scheduling and composing with Risset eternal accelerando rhythmsDan Stowell. [doi]
- Inclusive Interconnections: Retaining Diversity in Networked Laptop PerformanceGraham Booth. [doi]
- Reproducibility and random access in sound synthesisHanns Holger Rutz, Eduardo R. Miranda, Gerhard Eckel. [doi]
- Interactive High Performance Computing for MusicBenjamin D. Smith, Guy E. Garnett. [doi]
- Flood Tide See Further: Sonification as Musical PerformanceJohn Eacott. [doi]
- The music21 Stream: A New Object Model for Representing, Filtering, and Transforming Symbolic Musical StructuresChristopher Ariza, Michael Scott Cuthbert. [doi]
- A Demonstration of Bow Articulation Recognition with Wekinator and K-BowMargaret Schedel, Rebecca Fiebrink. [doi]
- Physical Thinking: two approached to mechanical sound designJon Pigott, Alexandros Kontogeorgakopoulos. [doi]
- Analysis-by-Performance: Gesturally-Controlled Voice Synthesis as an Input for Modelling of Vibrato in SingingNicolas D'Alessandro, Thierry Dutoit, Sidney Fels, Christophe Ooge. [doi]
- Towards a comprehensive framework for electro-acoustic music analysisTae Hong Park, David Hyman, Peter Leonard, Phillip Hermans. [doi]
- Reconsidering Laptop Orchestras as a Computational Grid for Music PerformanceStephen David Beck, Chris Branton. [doi]
- A perceptually based onset detector for real-time and offline audio parsingWilliam Brent. [doi]
- Digital Modeling of the Vintage Telephone SoundSami Oksanen, Vesa Välimäki. [doi]
- Flexible spatial design for dance performanceFelipe Otondo. [doi]
- A musical instrument using in vitro neural networksEduardo R. Miranda, Slawomir J. Nasuto, Anna R. Troisi, Julia H. Downes, Antonino Chiaramonte, Matthew C. Spencer, Mark W. Hammond, Dimitris Xydas, Benjamin J. Whalley, Victor M. Becerra, Kevin Warwick. [doi]
- Confessions of a Live CoderThor Magnusson. [doi]
- Musical Tempo CurvesAxel Berndt. [doi]
- Tactile Feedback Tool: approaching the foot pedal problem in live electronic musicTychonas Michailidis, Sebastian Berweck. [doi]
- Dynamic, Instance-based, object-oriented programming in Max/MSP using open sound control message delegationAdrian Freed, John MacCallum, Andrew Schmeder. [doi]
- Auksalaq, A telematic operaW. Scott Deal, Matthew Burtner. [doi]
- Stimulus Complexity and Time JudgmentsAki Pasoulas. [doi]
- Cellular automata dynamic control for sound design with histogram mapping synthesis and the multitype voter modelJaime Serquera, Eduardo R. Miranda. [doi]
- Tiny Jungle: Psychedelic Techniques in Audio-Visual CompositionJonathan Weinel. [doi]
- Screen Scores: New Media Music ManuscriptsCat Hope, Lindsay Vickery. [doi]
- Representing and Automating Rhythmic Pattern TransformationsLonce Wyse, Keith Tan, Peter R. Kellock. [doi]
- Representation and Interchange of Sound Spatialization Data for Compositional ApplicationsJean Bresson, M. Marlon Schumacher. [doi]
- Multimodal Control of Music and Fire PatternsTodor Todoroff, Radhwan Ben Madhkour, Ricardo Chessini. [doi]
- Aspects of gesture in Digital Musical Instrument DesignWilliam Brent. [doi]
- Sculpture as Music InterfaceRichard Hoadley. [doi]
- Application of multi-agent whale modeling to an interactive saxophone and whales duetAlexis Kirke, Samuel Freeman, Eduardo R. Miranda. [doi]
- Mapping change over time within stereo Acousmatic Music - A Case StudyJason Woolley. [doi]
- The Effect of Visual Modalities on Human Perception of Emotion from MusicKwan Kim, Samuel Lee, Woon Seung Yeo. [doi]
- Sound Level of Detail in Interactive Audiographic 3D ScenesDiemo Schwarz, Roland Cahen, François Brument, Hui Ding, Christian Jacquemin. [doi]
- The Horizontal Spacing of Graphical NotationMike Solomon. [doi]
- Constructing Music Applications for SmartphonesMasathoshi Hamanaka, Mikito Yoshiya, Shyuhei Yoshida. [doi]
- Progress Report on the EAVI BCI Toolkit for Music: Musical Applications of Algorithms for use with consumer brain computer interfacesMike Grierson, Chris Kiefer, Matthew Yee-King. [doi]
- The Spatialisation of Stereophony: Taking Positions in Post-War Electroacoustic MusicPatrick Valiquet. [doi]
- The M2 Compositions: A Technical Overview of a Modular Work Flow Towards the Creation of a Video ScoreRob Canning. [doi]
- Software for Schenkerian AnalysisAlan Marsden. [doi]
- The Prosthetic Mbira: Prosthesis as Design StrategyCiska Vriezenga, Pedro Rebelo. [doi]
- Real-time Grammar-based parsing and restructuring of musical streamsDale E. Parson, Ryan R. Panuski. [doi]
- Supernova - A scalable parallel audio synthesis server for SuperColliderTim Blechmann. [doi]
- CACIE CB: Genetic programming based composition-aid system by shopping basket interfaceDaichi Ando. [doi]
- An architecture for creating hosting plug-ins for use in digital audio workstationsDarrell Gibson, Richard Polfreman. [doi]
- The Visible String, a Direct Audiovisual ModelBenjamin Schroeder, Marc Ainger, Richard E. Parent. [doi]
- Electroacoustic Music: Overcoming Analysis ParalysisKevin Dahan. [doi]
- Algorithmic multi-genre classification of music: an empirical studyChris Sanden, John Z. Zhang. [doi]
- Developing methods for computer programming by musical performance and compositionAlexis Kirke, Eduardo R. Miranda. [doi]
- The Timelessness of Maximal MusicFlo Menezes. [doi]
- Infuriating Nonlinear ReverberatorMiller Puckette. [doi]
- Real-time Musical Applications on an Experimental Operating System for Multi-Core ProcessorsJuan A. Colmenares, Ian Saxton, Eric Battenberg, Rimas Avizienis, Nils Peters, Krste Asanovic, John Kubiatowicz, David Wessel. [doi]
- Real-time emulation of the ClavinetLeonardo Gabrielli, Vesa Välimäki, Stefan Bilbao. [doi]
- Innovation, Interaction, experience and imagination in computer music educationAlessandro Cipriani, Maurizio Giri. [doi]
- Sound Element SpatializerRyan McGee, Matthew Wright. [doi]
- Cloud chamber: a performance involving real time two-way interaction between subatomic radioactive particles and violinistAlexis Kirke, Eduardo R. Miranda, Antonino Chiaramonte, Anna R. Troisi, John Matthias, Jeff Radtke, Nicholas Fry, Catherine McCabe, Martyn Bull. [doi]
- Using gaming engine for virtual prototyping and impact assessment of complex interactive art installationsIvica Ico Bukvic, Scott Betz. [doi]
- CBPSC: Corpus-based Processing for SuperColliderThomas Stoll. [doi]
- PhinGen: A Physically Informed Stochastic Synthesis GeneratorLuc Döbereiner. [doi]
- Spatial Mastering - a new concept for spatial sound design in object-based audio scenesFrank Melchior, Uwe Michaelis, Robert Steffens. [doi]
- New forms of hybrid musical discourse: an exploration of stylistic and procedural crossfertilisation between contemporary art music and electronic dance musicRobert Ratcliffe. [doi]
- Unconventional Computing for Music: Sound Synthesis with Slime MouldEduardo R. Miranda, Andrew Adamatzky, Jeff Jones. [doi]
- The measurement of performer and audience emotional state as a new means of computer music interaction: a performance case studyR. Benjamin Knapp, Eric D. Lyon. [doi]
- Gestural Mappings: Towards the Creation of a Three Dimensional Composition EnvironmentStephen A. Pearse. [doi]
- PVOC KIT: new applications of the phase vocoderTom Erbe. [doi]
- COSM: A toolkit for composing immersive audio-visual worlds of agency and autonomyGraham Wakefield, Wesley Smith. [doi]
- Towards using expressive performance algorithms for typist emotion detectionAlexis Kirke, Matthieu Bonnot, Eduardo R. Miranda. [doi]
- Sound-types: a new framework for symbolic sound analysis and synthesisCarmine-Emanuele Cella. [doi]
- Developing a user-relative motion detection interface for mobile devicesMatthew Benatan, Ian M. Symonds, Kia Ng. [doi]
- Maximillian: An easy to use, cross platform C++ Toolkit for interactive audio and synthesis applicationsMike Grierson, Chris Kiefer. [doi]
- Texture: Visual Notation for Live Coding of PatternAlex McLean, Geraint A. Wiggins. [doi]
- The Integra Framework for rapid modular audio application developmentJamie Bullock, Henrik Frisk. [doi]
- Tracking Virtuosity and Flow in Computer MusicChris Nash, Alan Blackwell. [doi]
- Towards a Model for the Humanisation of Pitch Drift in Singing Voice SynthesisRyan Stables, Cham Athwal, Jamie Bullock. [doi]
- Composing with Swarm Algorithms - Creating interactive audio-visual pieces with flocking behaviorJan C. Schacher, Daniel Bisig, Martin Neukom. [doi]
- Controlling Real Time Sound Spatialization Using The RadiodrumSteven R. Ness, Gabrielle Odowichuk, Peter F. Driessen, George Tzanetakis. [doi]
- Analytical and Compositional Applications of a Network-Based Scale Model in music21Christopher Ariza, Michael Scott Cuthbert. [doi]
- Multi-dimensional spatial sound design for 'On the String'PerMagnus Lindborg, Joyce Beetuan Koh. [doi]
- Hypothesis for the foundation of a laptop orchestraMarco Gasperini. [doi]
- Designing Synthetic Reverberators in KronosVesa Norilo. [doi]
- LiveCell: Real-Time Score Generation Through Interactive Generative CompositionKingsley Ash, Nikos Stavropoulos. [doi]
- An interface to support creative studio practiceAndrew King. [doi]
- Emergent Construction of melodic pitch and hierarchy through agents communicating emotion without melodic intelligenceAlexis Kirke, Eduardo R. Miranda. [doi]
- Cloning in Max/MSP PatchesNicolas Gold, Jens Krinke, Mark Harman, David Binkley. [doi]
- Music - Imagination - TechnologySimon Emmerson. [doi]
- A Multi-perspective user interface for music signal analysisMeinard Müller, Verena Konz, Nanzhu Jiang, Zhe Zuo. [doi]
- An ecologically valid experiment for the comparison of established spatial techniquesHugh Lynch, Robert Sazdov. [doi]
- Characterizing Tempo Change In Musical PerformancesRoger B. Dannenberg, Sukrit Mohan. [doi]
- Untouchable instruments and PerformancesYoichi Nagashima. [doi]
- Sound Cross-synthesis and Morphing Using Dictionary-based MethodsNick Collins, Bob L. Sturm. [doi]
- Gesture Analysis of radiodrum dataSteven R. Ness, Sonmez Methabi, Gabrielle Odowichuk, George Tzanetakis, W. Andrew Schloss. [doi]
- Combining EEG Frontal asymmetry studies with affective algorithmic composition and expressive performance modelsAlexis Kirke, Eduardo R. Miranda. [doi]
- An autonomous timbre matching improviserMatthew John Yee-King. [doi]
- Audience-Participation Techniques Based on Social Mobile ComputingJieun Oh, Ge Wang. [doi]
- Unnecessary Constraints: A Challenge to Some Assumptions of Digital Musical Instrument DesignAdam Linson. [doi]
- UDKOSC: An immersive musical environmentRobert Hamilton. [doi]
- World Stage: A Crowd-sourcing Paradigm for Interactive Social / Mobile MusicGe Wang, Jieun Oh, Spencer Salazar, Robert Hamilton. [doi]
- Wii Play Piano: Composing for Piano and Wii RemoteChristopher Jette, Keith Kirchoff. [doi]
- Sound synthesis model based on the simulation of a gaussian bouncing wave packetJavier Ramos, Rodrigo F. Cádiz. [doi]
- Multi-touch interaction principles for collaborative real-time music activities: towards a pattern languageAnna Xambó, Robin C. Laney, Chris Dobbyn, Sergi Jordà. [doi]
- Mapping 3D Objects To Synthesised Sound Using A Simulated Physics SystemRhys Perkins. [doi]
- Why things don't work: What you need to know about spatial audioGary S. Kendall, Andrés Cabrera. [doi]
- The Harmonic Matrix: Exploring the geometry of PitchDaryn Bond. [doi]
- Multi-modal instrument: towards a platform for comparative controller evaluationRichard Polfreman. [doi]
- Design and Implementation of a Piano Practice Support System using a Real-Time Fingering Recognition TechniqueYoshinari Takegawa, Masahiko Tsukamoto, Tsutomu Terada. [doi]
- Towards the Beat of a Different Drummer: A Journey into the Loss of Fidelity in Drums and ElectronicsRodrigo Constanzo. [doi]
- Cabbage Audio Plugin FrameworkRory Walsh. [doi]
- Artaud's Snake: gesture, time and play - a composer's report on the use and development of the WiGI infra red wireless gestural systemRichard Scott. [doi]
- Real-time Visual Beat Tracking using a Comb Filter MatrixAndrew Robertson, Adam M. Stark, Mark D. Plumbley. [doi]
- Suspended Imprints: An Exploration of Sound, Space and the Inner MonologueSamantha Horseman. [doi]
- The Control of the CHANT Synthesizer in OpenMusic: Modelling Continuous Aspects in Sound SynthesisJean Bresson, Marco Stroppa. [doi]
- Phenomenology, Spatial Music and the Composer: prelude to a phenomenology of space in acousmatic musicFrederico Macedo. [doi]
- Automated Ad Hoc Networking for Mobile and Hybrid Music PerformanceGeorg Essl. [doi]
- Towards musical interaction: 'Schismatics' for e-violin and computerSam Hayden, Mieko Kanno. [doi]
- Ophidian and the Uncanny ValleyDavid Bessell. [doi]
- History of electroacoustic music through filmed sources: an example at IRCAMBruno Bossis. [doi]
- Studio based composers in collaboration: a socioculturally framed studyElizabeth Dobson, Rosie Flewitt, Karen Littleton, Dorothy Miell. [doi]
- Automatic Synthesiser ProgrammingRoss Clement. [doi]