Table of Contents

• Maxscore: Current State of the ArtGeorg Hajdu, Nick Didkovsky. [doi]
• Airduino: an inexpensive DIY MIDI wind controllerTimothy Anderson. [doi]
• Enabling Live presence: Dynamic video Compression for the Telematic artsBenjamin D. Smith. [doi]
• The Augmented Drum Kit: an Intuitive Approach to Live Electronic Percussion PerformanceChristos Michalakos. [doi]
• Towards Interactive Sonification Based on Real-Time Physics simulationsRhys Perkins. [doi]
• Statistical Parsing for harmonic Analysis of Jazz Chord SequencesMark Granroth-Wilding, Mark Steedman. [doi]
• Real-Time Web Technologies in the Networked Performance EnvironmentRob Canning. [doi]
• Real-Time audio synthesis in a Wireless Interactive Sensor PlatformDa-Lei Fang, Yi Qin, Qiangbin Chen, Jia-liang Lu. [doi]
• SurrsoundKun-Ting Tsai, Che-Wei Liu, Yu-Chung Tseng. [doi]
• Technology Penetrates Tradition: Introduction of Music Technology in MacedoniaKaterina Pejoska. [doi]
• The Hisstools impulse response Toolbox: convolution for the MassesAlexander Harker, Pierre-Alexandre Tremblay. [doi]
• Assistance for Novice Users on Creating Songs from Japanese LyricsSatoru Fukayama, Daisuke Saito, Shigeki Sagayama. [doi]
• Osc-NetLogo: a Tool for Exploring the Sonification of Complex Systems using NetLogoRodrigo F. Cádiz, Marco Colasso. [doi]
• Chugens, Chubgraphs, Chugins: 3 Tiers for Extending ChuckSpencer Salazar, Ge Wang. [doi]
• Time/pitch modification using narrowband am-FM signalsNaotoshi Osaka, Atsushi Mita. [doi]
• The Mobile Csound PlatformSteven Yi, Victor Lazzarini, Joseph Timoney, Damián Keller, Marcelo Soares Pimenta. [doi]
• Performing articulation and expression through a Haptic InterfaceLauren Hayes. [doi]
• Strange Loops in CFML: a Livecoder's RiddleAdam M. Smith. [doi]
• Semantic Movie Scene Annotation for Rapid Prototyping of Score MusicJulian Rubisch, Jakob Doppler, Stefan Schuster, Hannes Raffaseder. [doi]
• A System for recording analog synthesizers with the WebMarcelo Johann, Lucas Fialho Zawacki. [doi]
• Center for Computer Music at the College-Conservatory of Music, University of CincinnatiMara Helmuth, Joel W. Matthys, Paul Schuette, Sangbong Nam, Benny Martinson. [doi]
• A Method for Computer characterization of "Gesture" in Musical ImprovisationChristopher Dobrian. [doi]
• Sound synthesis with auditory distortion ProductsGary S. Kendall, Christopher Haworth, Rodrigo F. Cádiz. [doi]
• Towards a Typology of feedback SystemsAndrea Valle, Dario Sanfilippo. [doi]
• A System for Memorizing Songs by Presenting Musical Structures Based on Phrase SimilarityYuma Ito, Yoshinari Takegawa, Tsutomu Terada, Masahiko Tsukamoto. [doi]
• Cyclical Flow: Spatial synthesis sound toy as multichannel Composition ToolAndrew Dolphin. [doi]
• Playing with Lights: Music Generation using the LED CubeDariusz Jackowski, Jakub Stepniewicz. [doi]
• Suac Studio ReportYoichi Nagashima. [doi]
• Georgia State University Music Technology Studio ReportTae Hong Park, Robert Scott Thompson, Alex Marse, Johnathan Turner. [doi]
• The Yin Yang Theory in sound and Music: a First ExplorationLeonardo Gabrielli, Daniele Gabrielli. [doi]
• Browsing Music and sound using gestures in a Self-Organized 3D SpaceGabrielle Odowichuk, George Tzanetakis. [doi]
• Partial tracking in two StepsÁdám Siska. [doi]
• Probado Music: a Multimodal Online Music LibraryVerena Thomas, David Damm, Christian Fremerey, Michael Clausen, Frank Kurth, Meinard Müller. [doi]
• Spatosc: Providing Abstraction for the Authoring of Interactive Spatial Sudio ExperiencesMichael Wozniewski, Zack Settel, Alexandre Quessy, Tristan Matthews, Luc Courchesne. [doi]
• Tools and Abstractions for Swarm Based Music and ArtDaniel Bisig, Philippe Kocher. [doi]
• Sabre: affordances, realizations and PerspectivesSébastien Schiesser, Jan C. Schacher. [doi]
• Vuzik: a Painting Graphic Score Interface for Composing and control of sound GenerationAura Pon, Junko Ichino, David Eagle, Ehud Sharlin, Nicolas D'Alessandro, Sheelagh Carpendale. [doi]
• Tactile sound Aesthetic ExperienceJustyna Zubrycka, Pawel Cyrta. [doi]
• Bach: an Environment for Computer-Aided Composition in MaxAndrea Agostini, Daniele Ghisi. [doi]
• Variance in repetitive Games MusicAxel Berndt. [doi]
• Music as a Mediator of EmotionAdinda Rosa van't Klooster. [doi]
• Improtek: Integrating harmonic Controls into Improvisation in the filiation of OmaxJérôme Nika, Marc Chemillier. [doi]
• Heterogeneously-coupled feedback Systems: the |. (Bar dot) ProjectDario Sanfilippo, Andrea Valle. [doi]
• Musical Experience beyond audible sound and its Relevance for electro-acoustic CompositionMarko Ciciliani. [doi]
• Designing Interactive Audience Participation using Smart phones in a Musical PerformanceOliver Hödl, Fares Kayali, Geraldine Fitzpatrick. [doi]
• The Electronic Music of Roberto GerhardMonty Adkins, Carlos Duque, Gregorio García-Aguilar. [doi]
• Image-Based spatializationEric D. Lyon. [doi]
• Allotrope: Works for Solo Trumpet, Laptop, Pedals and Guitar amplifierPeter Knight. [doi]
• Calder's Violin: Real-Time Notation and Performance through Musically Expressive AlgorithmsRichard Hoadley. [doi]
• Interfacing the Network: an Embedded Aproach to Network Instrument CreationTom Davis, Jason Geistweidt, Alain Renaud, Jason Dixon. [doi]
• Measuring the Performance of Realtime DSP using Pure Data and GPUAndré J. Bianchi, Marcelo Queiroz. [doi]
• Sound to Scale to sound: a setup for Microtonal Exploration and CompositionOlmo Cornelis, Joren Six. [doi]
• A Wireless, Real-Time controller for the Ensemble audio-Visual SystemAnton Jidkov, Ian Gibson, Mark Hildred. [doi]
• Foundations of Interactive sound Design for Traditional StorytellingLonce Wyse, Srikumar Subramanian. [doi]
• A New Approach for Constraint Programming in Music using Relation DomainsSascha Van Cauwelaert, Gustavo Gutierrez, Peter Van Roy. [doi]
• Generative sound Art as Poeitic Poetry for an Information SocietyAlice Eldridge. [doi]
• Real-Time Simulation of Prehispanic Antaras from South AmericaPatricio de la Cuadra, Benoît Fabre, José Pérez de Arce, Arnaud Gérard. [doi]
• An Introduction to slippery chickenMichael Edwards. [doi]
• Computer Aided Melodic Analysis using Suffix TreeMatevz Jekovec, Janez Demsar, Andrej Brodnik. [doi]
• Controlling Mozart's Dice Music using acceleration sensorsCiril Bohak, Masahiro Niitsuma, Matija Marolt. [doi]
• Mconduct: transcending Domains and Distributed PerformanceKia Ng, Joanne L. Armitage, Paul Halpin, Kyle Hudspeth, Phoebe Bakanas, Joel Balmer. [doi]
• Gibber: Live coding audio in the BrowserCharlie Roberts, JoAnn Kuchera-Morin. [doi]
• A Stigmergic Model for oscillator synchronisation and its Application in Music SystemsAndrew Lambert. [doi]
• The presence of a Tri-Polar Dynamic in Sonic Art InstallationSamantha Horseman. [doi]
• Compressed Multidimensional Trees for Evolutionary Music RepresentationAbbas Pirnia, Jon McCormack. [doi]
• Visualization of perceptual qualities in Textural soundsThomas Grill, Arthur Flexer. [doi]
• Engraving-Hammering-Casting: Exploring the Sonic-Ergotic Medium for Live Musical PerformanceEdgar Berdahl, Alexandros Kontogeorgakopoulos. [doi]
• The Smuse: an Embodied Cognition Approach to Interactive Music CompositionSylvain Le Groux, Paul F. M. J. Verschure. [doi]
• Controlling Dynamic stochastic synthesis with an audio signalGordan Krekovic, Igor Brkic. [doi]
• Security in Network Connected Performance EnvironmentsScott Hewitt, Alexander Harker. [doi]
• Acoustic-Aggregate-synthesisPaul Clift. [doi]
• Walk with me: a Work of pointless CuriosityRob van Rijswijk, Jeroen Strijbos, Niels Bogaards. [doi]
• Oscthulhu: Applying video Game State-Based Synchronization to Network Computer MusicCurtis McKinney, Chad McKinney. [doi]
• The Investment of Play: expression and affordances in Digital Musical Instrument DesignJoanne Cannon, Stuart Favilla. [doi]
• Flexibility, Subtlety and Spontaneity in New Instrument Design: the feedback JoypadTom Mudd. [doi]
• Digital Adaptions of the Scores for cage variations I, II and IIILindsay Vickery. [doi]
• A Formal Evaluation Framework for sound MorphingMarcelo Caetano, Naotoshi Osaka. [doi]
• The Xyolin: a 10-Octave continuous-pitch xylophone, and other Existemological InstrumentsSteve Mann, Ryan E. Janzen. [doi]
• Maestro: using Technology to Improve kinesthetic Skill Learning of Music conductorsAndrea Brown, Yonatan Sasson. [doi]
• A Framework for the Choreography of soundGerhard Eckel, Martin Rumori, David Pirrò, Ramón González-Arroyo. [doi]
• Precise pitch control in Real Time Corpus-Based concatenative synthesisAaron Einbond, Christopher Trapani, Diemo Schwarz. [doi]
• Adapting General Purpose Interfaces to synthesis Engines using Unsupervised Dimensionality Reduction Techniques and inverse Mapping from Features to parametersStefano Fasciani, Lonce Wyse. [doi]
• Sound Similarity as Interface between Human and Machine in Electroacoustic CompositionHanns Holger Rutz. [doi]
• Snapshots: New Possibilities for Social Digital Music-Making arising from the Storage of HistorySamuel Aaron, Jenny Judge. [doi]
• The Sum Tool as a Visual controller for Image-Based sound synthesisMika Kuuskankare, Sara Adhitya. [doi]
• Manuscore: Music Notation-Based Computer Assisted CompositionJames B. Maxwell, Arne Eigenfeldt, Philippe Pasquier. [doi]
• On the non-Cochlearity of the sounds ThemselvesMalcolm Riddoch. [doi]
• A Piano Learning Support System considering rhythmYoshinari Takegawa, Tsutomu Terada, Masahiko Tsukamoto. [doi]
• 'Soundexplore: Leeds': towards a Greater engagement with soundscapesLuca Holland. [doi]
• Sourcenode: a Network sourced Approach to Network Music Performance (NMP)Robin Renwick. [doi]
• Developing and Composing for a robotic Musician using Different modes of InteractionMason Bretan, Marcelo Cicconet, Ryan Nikolaidis, Gil Weinberg. [doi]
• Sonifying Animated Graphical Scores and Visualising sound in the Hearimprov PerformanceAdinda Rosa van't Klooster. [doi]
• A spectrographic Analysis of vocal Techniques in Extreme metal for Musicological AnalysisEric Smialek, Philippe Depalle, David Brackett. [doi]
• Kronos as a Visual Development Tool for Mobile ApplicationsVesa Norilo. [doi]
• A Turing Test for the singing voice as an Anthropological Tool: epistemological and Technical IssuesAnastasia Georgaki, George Kosteletos. [doi]
• Modern Technology and Creativity: an Approach to Composing at 11-14 YearsAlistair McNichol. [doi]
• Playing with Time: manipulation of Time and rate in a Multi-rate signal Processing PipelineGeorg Essl. [doi]
• Sounds of simulations: Data listening SpaceKatharina Vogt, David Pirrò, Martin Rumori, Robert Höldrich. [doi]
• Proceeding from Performance: an ethnography of the Birmingham Laptop EnsembleGraham Booth, Michael Gurevich. [doi]
• Audio-to-audio Alignment using Particle filters to Handle Small and Large Scale Performance DiscrepanciesBo Xiong, Özgür Izmirli. [doi]
• Navigating variation: Composing for audio MosaicingDiemo Schwarz, Benjamin Hackbarth. [doi]
• Computing with Chord SpacesDonya Quick, Paul Hudak. [doi]
• Correct Automatic Accompaniment Despite Machine listening or Human errors in AntescofoArshia Cont, José Echeveste, Jean-Louis Giavitto, Florent Jacquemard. [doi]
• A Cognitive Approach to Electronic Music: Theoretical and Experiment-Based PerspectivesAnil Çamci. [doi]
• Advancing Expert Human-Computer Interaction through MusicBenjamin D. Smith, Guy E. Garnett. [doi]
• Presenting 'Cosmosf' as a Case Study of audio Application Design in openFrameworksSinan Bökesoy. [doi]
• Live Notation: acoustic resonance?Alex McLean, Hester Reeve. [doi]
• Phrase boundary estimation in Music Performance with HMM-Based Unsupervised LearningTaehun Kim, Stefan Weinzierl. [doi]
• Nuance: a Software Tool for Capturing Synchronous Data Streams from Multimodal Musical SystemsJordan Hochenbaum, Ajay Kapur. [doi]
• Iterative Synaesthetic Composing with Multimedia signalsAngus Forbes, Kiyomitsu Odai. [doi]
• Scores Level Composition Based on the GUIDO Music NotationDominique Fober, Yann Orlarey, Stéphane Letz. [doi]
• A microphone array Interface for Real-Time Interactive Music PerformanceDaniele Salvati, Sergio Canazza, Gian Luca Foresti. [doi]
• Motifviewer: Hierarchical Pattern DetectionVerena Thomas, Michael Clausen. [doi]
• "Warm Chorus": Re-Thinking the Chorus effect using an Orchestral Section ModelRichard Dudas. [doi]