Table of Contents

• Ambisonics User Defined Opcodes for CsoundMartin Neukom. [doi]
• A Method of Timbre-Shape Synthesis Based On Summation of SphericalLance Putnam. [doi]
• Gamma: A C++ Sound Synthesis Library Further Abstracting the Unit GeneratorLance Putnam. [doi]
• Comparing models of symbolic music using probabilistic grammars and probabilistic programmingSamer A. Abdallah, Nicolas E. Gold. [doi]
• Zwischenräume - A Case Study in the Evaluation of Interactive Sound InstallationsGeorgios Marentakis, David Pirrò, Raphael Kapeller. [doi]
• Demo: Using Jamama's MVC features to design an audio effect interfaceTrond Lossius, Nathan Wolek, Théo de la Hogue, Pascal Baltazar. [doi]
• Computer, Formalisms, Intuition and Metaphors. A Xenakian and Post-Xenakian ApproachJosé L. Besada. [doi]
• Instantaneous Detection and Classification of Impact Sound: Turning Simple Objects into Powerful Musical Control InterfacesNikolaos Stefanakis, Yiannis Mastorakis, Athanasios Mouchtaris. [doi]
• Planning Human-Computer ImprovisationJérôme Nika, José Echeveste, Marc Chemillier, Jean-Louis Giavitto. [doi]
• A Protocol for creating Multiagent Systems in Ensemble with Pure DataPedro Bruel, Marcelo Queiroz. [doi]
• A computer-mediated Interface for Jazz Piano CompingRui Dias, Carlos Guedes, Telmo Marques. [doi]
• Timbre-invariant Audio Features for Style Analysis of Classical MusicChristof Weiß, Matthias Mauch, Simon Dixon. [doi]
• GenoMeMeMusic: a Memetic-based Framework for Discovering the Musical GenomeValerio Velardo, Mauro Vallati. [doi]
• Sound and Music Computing at Aalborg University in CopenhagenStefania Serafin, Sofia Dahl, Amalia de Götzen, Cumhur Erkut, Dan Overholt, Hendrik Purwins, Bob L. Sturm. [doi]
• Audio-Rate Modulation of Physical Model ParametersEdgar Berdahl. [doi]
• Automatic Singer Identification For Improvisational Styles Based On Vibrato, Timbre And Statistical Performance DescriptorsNadine Kroher, Emilia Gómez. [doi]
• Study of the Perceptual and Semantic Divergence of Digital Audio Processed by Restoration AlgorithmsSonia Cenceschi, Giorgio Klauer. [doi]
• Transcription, Adaptation and Maintenance in Live Electronic Performance with Acoustic InstrumentsPete Furniss, Richard Dudas. [doi]
• FugueGenerator - Collaborative Melody Composition Based on a Generative Approach for Conveying Emotion in MusicNiklas Klügel, Gerhard Hagerer, Georg Groh. [doi]
• Computer Game Piece: Exploring Video Games as Means for Controlled ImprovisationDariusz Jackowski, Francho Melendez, Andrzej Bauer, Pawel Hendrich, Cezary Duchnowski. [doi]
• A Bowed String Physical Model Including Finite-Width Thermal Friction and Hair DynamicsEsteban Maestre, Carlos Spa, Julius O. Smith III. [doi]
• Mutor: Drone Chorus of Metrically Muted MotorsMo Zareei, Dale A. Carnegie, Ajay Kapur, Dugal McKinnon. [doi]
• ALARM/WILL/SOUND: Perception, Characterization, Acoustic Modeling, and Design of Modified Car AlarmsAlexander Sigman, Nicolas Misdariis. [doi]
• A Research of Automatic Composition and Singing Voice Synthesis System for Taiwanese Popular SongsChih-Fang Huang, Wei-Gang Hong, Min-Hsuan Li. [doi]
• Movable Party: A bicycle-powered system for interactive musical performanceSteven Kemper, Wendy F. Hsu, Carey Sargent, Josef Taylor, Linda Wei. [doi]
• A Multi-agent Interactive composing system for creating "expressive" accompanimentMichael Spicer. [doi]
• December Variations (on a Theme by Earle Brown)Richard Hoadley. [doi]
• Laminae: A stochastic modeling-based autonomous performance rendering system that elucidates performer characteristicsKenta Okumura, Shinji Sako, Tadashi Kitamura. [doi]
• The Centre Iannis Xenakis's establishment at the University of RouenCyrille Delhaye, Rodolphe Bourotte, Sharon Kanach. [doi]
• Towards Defining the Potential of Electroacoustic Infrasonic MusicAlexis Story Crawshaw. [doi]
• Algorithmic Cross-Mixing And Rhythmic DerangementZlatko Baracskai. [doi]
• μTunes: A Study of Musicality Perception in an Evolutionary ContextKirill A. Sidorov, Robin Hawkins, Andrew Jones, A. David Marshall. [doi]
• ArmKeyBoard: A Mobile Keyboard Instrument Based on Chord-scale System and Tonal HierarchyJun-qi Deng, Francis Chi-Moon Lau, Yu-Kwong Kwok. [doi]
• Lose control, gain influence - Concepts for MetacontrolAlberto de Campo. [doi]
• AutoChorusCreator: Four-Part Chorus Generator with Musical Feature Control, Using Search Spaces Constructed from Rules of Music TheoryBenjamin Luke Evans, Satoru Fukayama, Masataka Goto, Nagisa Munekata, Tetsuo Ono. [doi]
• Diffusing Diffusion: A History of the Technological Advances in Spatial PerformanceBridget Johnson, Michael Norris, Ajay Kapur. [doi]
• Perceptual Characterization of a Tactile Display for a Live-Electronics Notification SystemEmma Frid, Marcello Giordano, M. Marlon Schumacher, Marcelo M. Wanderley. [doi]
• The Black Swan: Probable and Improbable Communcation Over Local and Geographically Displaced Networked Connections as a Musical Performance SystemAlyssa Aska. [doi]
• Towards Soundscape Information Retrieval (SIR)Tae Hong Park, Jun-Hee Lee, Jaeseong You, Min-Joon Yoo, Johnathan Turner. [doi]
• Organic Oscillator: Experiments using Natural Oscillation Sources from AudiencesYuan-Yi Fan. [doi]
• A Recursive Mapping System for Motion and Sound in a Robot between Human Interaction DesignSinan Bökesoy. [doi]
• Broadening Telematic Electroacoustic Music by Affective Rendering and Embodied Real-time Data SonificationIan Whalley. [doi]
• Short-term and Long-term Evaluations of Melody Editing Method based on Melodic OutlineTetsuro Kitahara, Yuichi Tsuchiya. [doi]
• Connecting SUM with computer-assisted composition in PWGL: Recreating the graphic scores of Anestis LogothetisSara Adhitya, Mika Kuuskankare. [doi]
• StiffNeck: The Electroacoustic Music Performance Venue in a BoxGerhard Eckel, Martin Rumori. [doi]
• Spatial and Kinematic Models for Procedural Audio in 3D Virtual EnvironmentsIgnacio Pecino. [doi]
• DIMI-6000: An Early Musical Microcomputer by Erkki KurenniemiKai Lassfolk, Jari Suominen, Mikko Ojanen. [doi]
• Association of Sound movements in space to Takete and MalumaAmalia de Götzen. [doi]
• The TR-808 Cymbal: a Physically-Informed, Circuit-Bendable, Digital ModelKurt James Werner, Jonathan S. Abel, Julius O. Smith. [doi]
• Realism, Art, Technology and Audiovisual Immersion into the Environment of the Ionian IslandsApostolos Loufopoulos, Georgios P. Heliades, Minas Emmanouil, Fanis Matagkos. [doi]
• AutoRhythmGuitar: Computer-aided Composition for Rhythm Guitar in the Tab SpaceMatt McVicar, Satoru Fukayama, Masataka Goto. [doi]
• Implementation and Evaluation of Real-Time Interactive User Interface Design in Self-learning Singing Pitch Training AppsKin Wah Edward Lin, Hans Anderson, M. H. M. Hamzeen, Simon Lui. [doi]
• PheroMusic: Navigating a Musical Space for Active Music ExperiencesKristian Nymoen, Arjun Chandra, Kyrre Glette, Jim Tørresen, Arve Voldsund, Alexander Refsum Jensenius. [doi]
• Sonification of Controlled Quantum DynamicsAlexandros Kontogeorgakopoulos, Daniel Burgarth. [doi]
• Perception of Interactive Vibrotactile Cues on the Acoustic Grand and Upright PianoFederico Fontana, Federico Avanzini, Hanna Järveläinen, Stefano Papetti, Francesco Zanini, Valerio Zanini. [doi]
• cage: a high-level library for real-time computer-aided compositionAndrea Agostini, Éric Daubresse, Daniele Ghisi. [doi]
• Touchpoint: Dynamically Re-Routable Effects Processing as a Multi-Touch Tablet InstrumentNicholas K. Suda, Owen Vallis. [doi]
• Machine Improvisation with Formal SpecificationsAlexandre Donzé, Rafael Valle, Ilge Akkaya, Sophie Libkind, Sanjit A. Seshia, David Wessel. [doi]
• Towards Touch Screen Live Instruments with Less Risk: A Gestural ApproachEdward Jangwon Lee, Woon Seung Yeo. [doi]
• ModalityMarije A. J. Baalman, Till Bovermann, Alberto de Campo, Miguel Negrão. [doi]
• Sound of Rivers: Stone Drum: a Multimedia Collaboration, with Sonified Data, Computer-Processed Narration, and Electric ViolinCharles Nichols, Mark Lorang, Mark Gibbons, Nicole Bradley Browning, Amber Bushnell. [doi]
• Improving accompanied Flamenco singing voice transcription by combining vocal detection and predominant melody extractionNadine Kroher, Emilia Gómez. [doi]
• The Counterpoint Game: Rules, Constraints and Computational SpacesMattia Samory, Marcella Mandanici, Sergio Canazza, Enoch Peserico. [doi]
• AscoGraph: A User Interface for Sequencing and Score Following for Interactive MusicThomas Coffy, Arshia Cont, Jean-Louis Giavitto. [doi]
• Audio Rendering/Processing and Control Ubiquity ? a Solution Built Using the Faust Dynamic Compiler and JACK/NetJackStéphane Letz, Sarah Denoux, Yann Orlarey. [doi]
• Mathews' Diagram and Euclid's Line: Fifty Years AgoJohn Chowning. [doi]
• Introducing the Zirkonium MK2 System for Spatial CompositionDavid Wagner, Ludger Brümmer, Götz Dipper, Jochen Arne Otto. [doi]
• Audio Signal Visualisation and MeasurementRobin Gareus, Chris Goddard. [doi]
• ML.* Machine Learning Library as a Musical Partner in the Computer-Acoustic Composition FlightBenjamin D. Smith, W. Scott Deal. [doi]
• Beyond the Beat: Towards Metre, Rhythm and Melody Modelling with Hybrid Oscillator NetworksAndrew Lambert, Tillman Weyde, Newton Armstrong. [doi]
• The Use of Apprenticeship Learning Via Inverse Reinforcement Learning for Generating MelodiesOrry M. Messer, Pravesh Ranchod. [doi]
• The Use of Rhythmograms in the Analysis of Electroacoustic Music, with Application to Normandeau's Onomatopoeias CycleDavid Hirst. [doi]
• An Idiom-independent Representation of Chords for Computational Music Analysis and GenerationEmilios Cambouropoulos, Maximos A. Kaliakatsos-Papakostas, Costas Tsougras. [doi]
• Visualization and manipulation of stereophonic audio signals by means of IID and IPDGiorgio Presti, Goffredo Haus, Davide A. Mauro. [doi]
• The SpatDIF library - Concepts and Practical Applications in Audio SoftwareJan C. Schacher, Chikashi Miyama, Trond Lossius. [doi]
• On the Playing of Monodic Pitch in Digital Music InstrumentsVincent Goudard, Hugues Genevois, Lionel Feugère. [doi]
• Ambient culture: coping musically with the environmentMarcus Maeder. [doi]
• A design exploration on the effectiveness of vocal imitationsStefano Delle Monache, Stefano Baldan, Davide A. Mauro, Davide Rocchesso. [doi]
• Leap Motion As Expressive Gestural InterfaceMartin Ritter, Alyssa Aska. [doi]
• Extending Aura with Csound OpcodesSteven Yi, Victor Lazzarini, Roger B. Dannenberg, John ffitch. [doi]
• TC-Data: Extending Multi-Touch Interfaces for Generalized Relational ControlKevin Schlei. [doi]
• Sound and Music Computing Meets PhilosophyJean-Claude Risset. [doi]
• Creating a Place as a Medium for Musical Communication Using Multiple ElectroencephalographyTakayuki Hamano, Hidefumi Ohmura, Ryu Nakagawa, Hiroko Terasawa, Reiko Hoshi-Shiba, Kazuo Okanoya, Kiyoshi Furukawa. [doi]
• Learning Musical Contour on a TabletopAndrea Franceschini, Robin C. Laney, Chris Dobbyn. [doi]
• The place and meaning of computing in a sound relationship of man, machines, and environmentAgostino Di Scipio. [doi]
• An Automatic Singing Impression Estimation Method Using Factor Analysis and Multiple RegressionAi Kanato, Tomoyasu Nakano, Masataka Goto, Hideaki Kikuchi. [doi]
• Real Time Tempo Canons with AntescofoChristopher Trapani, José Echeveste. [doi]
• Mapping Motion to Timbre: Orientation, FM Synthesis and Spectral FilteringIsrael Neuman, Charles Okpala, Cesar E. Bonezzi. [doi]
• Orchestrating wall reflections in space by icosahedral loudspeaker: findings from first artistic research explorationGerriet K. Sharma, Franz Zotter, Matthias Frank. [doi]
• Transient Analysis for Music and Moving Images: Considerations for Television AdvertisingAndrew Rogers, Ian Gibson. [doi]
• A framework for music analysis/resynthesis based on matrix factorizationJuan José Burred. [doi]
• Power-Scaled Spectral Flux and Peak-Valley Group-Delay Methods for Robust Musical Onset DetectionLi Su, Yi-Hsuan Yang. [doi]
• HarmonyMixer: Mixing the Character of Chords among Polyphonic AudioSatoru Fukayama, Masataka Goto. [doi]
• Tangibility, Presence, Materiality, Reality in Artistic Creation with Digital TechnologyClaude Cadoz, Annie Luciani, Jérôme Villeneuve, Alexandros Kontogeorgakopoulos, Iannis Zannos. [doi]
• A Study on Cross-cultural and Cross-dataset Generalizability of Music Mood Regression ModelsXiao Hu, Yi-Hsuan Yang. [doi]
• Real-Time Composition of Sound EnvironmentsGeorgia Spiropoulos. [doi]
• i-score, an Interactive Sequencer for the Intermedia ArtsPascal Baltazar, Théo de la Hogue, Myriam Desainte-Catherine. [doi]
• The sound effect of ancient Greek theatrical masksFotios Kontomichos, Charalampos Papadakos, Eleftheria Georganti, Thanos Vovolis, John Mourjopoulos. [doi]
• Music Technology's Influence on Flute Pedagogy: A Survey of Their IntersectionDiana Siwiak, Ajay Kapur, Dale A. Carnegie. [doi]
• Towards an Aesthetic of Electronic-Music Performance PracticeMarko Ciciliani. [doi]
• Xenakis's Philosophy of Technology Through Some InterviewsMakis Solomos. [doi]
• Method to Detect GTTM Local Grouping Boundaries Based on Clustering and Statistical LearningKouhei Kanamori, Masatoshi Hamanaka, Junichi Hoshino. [doi]
• Sound Processes: A New Computer Music FrameworkHanns Holger Rutz. [doi]
• What Is Sound?Peter Nelson. [doi]
• Rhythmic Processes in Electronic MusicCurtis Roads. [doi]
• CriticalEd: A Tool for Assisting with the Creation of Critical CommentariesCaspar Mølholt Kjellberg, David Meredith. [doi]
• Intelligent Exploration of Sound Spaces Using Decision Trees and Evolutionary ApproachGordan Krekovic, Davor Petrinovic. [doi]
• Towards a Dynamic Model of the Palm Mute Guitar Technique Based on Capturing Pressure Profiles Between the Guitar StringsJulien Biral, Nicolas D'Alessandro, Adrian Freed. [doi]
• Toward Real-Time Estimation of Tonehole ConfigurationTamara Smyth, Cheng-i Wang. [doi]
• Loudness Normalisation: Paradigm Shift or Placebo for the Use of Hyper-Compression in Pop Music?Malachy Ronan, Robert Sazdov, Nicholas Ward. [doi]
• Musings on the Status of Electronic Music TodayCort Lippe. [doi]
• Experimence: Considerations for Composing a Rock Song for Interactive Audience ParticipationOliver Hödl, Geraldine Fitzpatrick, Simon Holland. [doi]
• Creativity Through Technology And Science In XenakisKostas Paparrigopoulos. [doi]
• Spatialization Symbolic Music Notation at ICSTEmile Ellberger, Germán Toro Perez, Johannes Schuett, Giorgio Zoia, Linda Cavaliero. [doi]
• An Agent Based Approach to Interaction and CompositionStephen A. Pearse, David Moore. [doi]
• Citygram One: One Year Later ..Tae Hong Park, Michael Musick, Johnathan Turner, Charlie Mydlarz, Jun-Hee Lee, Jaeseong You, Luke DuBois. [doi]
• From Digital 'Echos' to virtual 'ethos': Ethical aspects of Music TechnologyGeorge Kosteletos, Anastasia Georgaki. [doi]
• Little Drummer Bot: Building, Testing, and InterfacingWith a New Expressive Mechatronic Drum SystemJim W. Murphy, Dale A. Carnegie, Ajay Kapur. [doi]
• Timbral Hauntings: An Interactive System Re-Interpreting the Present in Echoes of the PastMichael Musick, Tae Hong Park. [doi]
• Mechatronic Keyboard Music: Design, Evaluation, and Use of a New Mechatronic HarmoniumJim W. Murphy, Ajay Kapur, Dale A. Carnegie. [doi]
• Musical perspectives on composition, sonification and performaceAmalia de Götzen, Nicola Bernardini, Alvise Vidolin. [doi]
• Conceptual Blending in Biomusic Composition Space: The "Brainswarm" ParadigmLeontios J. Hadjileontiadis. [doi]
• Some perspectives in the artistic rendering of music scoresGianpaolo Evangelista. [doi]
• Echoes in Plato's Cave: Ontology of Sound Objects in Computer Music and AnalysisAlan Marsden. [doi]
• Model-View-Controller separation in Max using JamomaTrond Lossius, Théo de la Hogue, Pascal Baltazar, Timothy A. Place, Nathan Wolek, Julien Rabin. [doi]
• Data Auditorio: Towards Intense Interaction, an Interactive Hyper-Directional Sound for Play and UbiquityDaichi Misawa, Kiyomitsu Odai. [doi]
• Directed Transitional Composition for Gaming and Adaptive Music Using Q-LearningJason Cullimore, Howard Hamilton, David Gerhard. [doi]
• Representation of Musical Computer ProcessesDominique Fober, Yann Orlarey, Stéphane Letz. [doi]
• Chronotope: the mutual dependency of time and space in visual musicIvan Zavada. [doi]
• Real-time Music Composition through P-timed Petri NetsAdriano Baratè, Goffredo Haus, Luca A. Ludovico. [doi]
• Mobile Instruments Made Easy: Creating Musical Mobile Apps with LIBPD and iOS, No Experience NecessaryDanny Holmes. [doi]
• Sound Shapes and Spatial Texture: Frequency-Space MorphologyJames Stuart. [doi]
• A Hybrid Guitar Physical Model Controller: The BladeAxeRomain Michon, Julius O. Smith III. [doi]
• Tactile Composition: Configurations and communications for a musical haptic chairJoanne L. Armitage, Kia Ng. [doi]
• P300 Harmonies: A Brain-Computer Musical InterfaceZacharias Vamvakousis, Rafael Ramirez. [doi]
• Probabilistic harmonization with fixed intermediate chord constraintsMaximos A. Kaliakatsos-Papakostas, Emilios Cambouropoulos. [doi]
• Easter Eggs: Hidden Tracks and Messages in Musical MediumsJonathan Weinel, Darryl Griffiths, Stuart Cunningham. [doi]
• The Ghost in the MP3Ryan Maguire. [doi]
• Influence of Expressive Coupling in Ensemble Performance on Musicians' Body MovementDavi Mota, Maurício A. Loureiro, Rafael Laboissière. [doi]
• Musical Timbre and Emotion: The Identification of Salient Timbral Features in Sustained Musical Instrument Tones Equalized in Attack Time and Spectral CentroidBin Wu, Andrew Horner, Chung Lee. [doi]
• Spinphony DemoMark Robert Nilsen. [doi]
• Degrees of Interpretation in Computer Aided Algorithmic CompositionJessica Aslan. [doi]
• Mostly-Strongly-Timed Programming in LCHiroki Nishino, Ryohei Nakatsu. [doi]
• Merged-Output Hidden Markov Model for Score Following of MIDI Performance with Ornaments, Desynchronized Voices, Repeats and SkipsEita Nakamura, Nobutaka Ono, Yasuyuki Saito, Shigeki Sagayama. [doi]
• Digitally Extending the Optical SoundtrackAlexander Dupuis, Carlos Domínguez. [doi]
• Parameter Estimation of Virtual Musical Instrument SynthesizersKatsutoshi Itoyama, Hiroshi G. Okuno. [doi]
• SCULPTON: A Malleable Tangible Interface for Sound SculptingAlberto Boem. [doi]
• Sampling the extrema from statistical models of music with variable neighbourhood searchDorien Herremans, Kenneth Sörensen, Darrell Conklin. [doi]
• Making People Move: Dynamic musical notationsRichard Hoadley. [doi]
• Augmented Exercise Biking with Virtual Environments for Elderly Users: Considerations on the use of auditoryJon Ram Bruun-Pedersen, Stefania Serafin, Lise Busk Kofoed. [doi]
• Chorale Synthesis by the Multidimensional Scaling of PitchesClarence Barlow. [doi]
• Ecologically grounded multimodal design: The Palafito 1.0 studyDamián Keller, Joseph Timoney, Leandro L. Constalonga, Ariadna Capasso, Patricia Tinajero, Victor Lazzarini, Marcelo Soares Pimenta, Maria Helena de Lima, Marcelo Johann. [doi]
• SYSTab: A proactive real-time expert system for ancient Greek music theory and notationMartin Carlé. [doi]
• A High-Level Review of Mappings in Musical iOS ApplicationsThor Kell, Marcelo M. Wanderley. [doi]
• SkipStep: A Multi-Paradigm Touch-screen InstrumentAvneesh Sarwate, Jeff Snyder. [doi]
• The HOA library, review and prospectsSèdes Anne, Guillot Pierre, Paris Eliott. [doi]
• Spatial Transformations in Simplicial Chord SpacesLouis Bigo, Daniele Ghisi, Antoine Spicher, Moreno Andreatta. [doi]
• Building a Gamelan from BricksTzu-En Ngiao. [doi]
• Using natural language to specify sound parametersJan-Torsten Milde. [doi]
• Teaching Robots to Conduct: Automatic Extraction of Conducting Information from Sheet MusicAndrea Salgian, Lawrence Agina, Teresa Marrin Nakra. [doi]
• Expanding the Vocalist's Role Through the Use of Live Electronics in Real-Time ImprovisationTone Åse. [doi]
• NICO: An Open-Source Interface, Bridging the Gap Between Musician and Tesla CoilBlake Johnston, Josh Bailey, Dugal McKinnon. [doi]
• Interval Scale as Group GeneratorsTsubasa Tanaka, Kiyoshi Furukawa. [doi]
• Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAXAaron Einbond, Christopher Trapani, Andrea Agostini, Daniele Ghisi, Diemo Schwarz. [doi]
• A Genetic Algorithm Approach to Collaborative Music Creation on a Multi-Touch TableNiklas Klügel, Andreas Lindström, Georg Groh. [doi]
• Musical Audio Synthesis Using Autoencoding Neural NetsAndy M. Sarroff, Michael A. Casey. [doi]
• Implementations of the Leap Motion in sound synthesis, effects modulation and assistive performance toolsLamtharn Hantrakul, Konrad Kaczmarek. [doi]
• Estimation of Vocal Duration in Monaural MixturesAnders Elowsson, Ragnar Schön, Matts Höglund, Elias Zea, Anders Friberg. [doi]
• Analysis of the Simultaneity, Voice/layer Balance, and Rhythmic Phrasing in Works for Guitar by Rodrigo, Brouwer, and Villa-LobosSérgio Freire, Lucas Nézio, Anderson dos Reis. [doi]
• About the Different Types of Listeners for Rating the Overall Listening ExperienceMichael Schoeffler, Jürgen Herre. [doi]
• Vuza: a functional language for creative applicationsCarmine-Emanuele Cella. [doi]
• Spatial Utilization of Sensory Dissonance and the Creation of Sonic SculptureBrian Hansen. [doi]
• miniAudicle for iPad: Touchscreen-based Music Software ProgrammingSpencer Salazar, Ge Wang. [doi]
• A History of Emerging Paradigms in EEG for MusicKameron R. Christopher, Ajay Kapur, Dale A. Carnegie, Gina M. Grimshaw. [doi]
• Considering Roughness to Describe and Generate Vertical Musical Structure in Content-Based Algorithmic-Assisted Audio CompositionGilberto Bernardes, Matthew E. P. Davies, Carlos Guedes, Bruce Pennycook. [doi]
• "Topos" toolkit for Pure Data: exploring the spatial features of dance gestures for interactive musical applicationsLuiz Naveda, Ivani Santana. [doi]
• Affective Jukebox: A Confirmatory Study of EEG Emotional Correlates in Response to Musical StimuliJoel Eaton, Duncan Williams, Eduardo R. Miranda. [doi]
• Scaling Up Live Internet Performance with The Global Net OrchestraRoger B. Dannenberg, Thomas P. Neuendorffer. [doi]
• Real-time Breeding Composition System by means of Genetic Programming and Breeding ProcedureDaichi Ando. [doi]
• NLN-live, an application for live nonlinear and interactive instrumental musicN. J. van Nispen tot Pannerden. [doi]
• The Future of Spatial Computer MusicEric D. Lyon. [doi]
• ATK Reaper: The Ambisonic Toolkit as JSFX pluginsTrond Lossius, Joseph Anderson. [doi]
• New Tools for Aspect-Oriented Programming in Music and Media Programming EnvironmentsJohn MacCallum, Adrian Freed, David Wessel. [doi]
• Effects of different bow stroke styles on body movements of a viola player: an exploratory studyFederico Visi, Esther Coorevits, Eduardo R. Miranda, Marc Leman. [doi]
• Human Perception of the Soundscape in a Metropolis through the Phenomenology of Neural NetworksEnrica Santucci, Luca A. Ludovico. [doi]
• Multi-touch Interface for Acousmatic Music SpatializationGwendal Le Vaillant, Rudi Giot. [doi]
• From Technological Investigation and Software Emulation to Music Analysis: An integrated approach to Barry Truax's RiverrunMichael Clarke, Frédéric Dufeu, Peter Manning. [doi]
• Infrared vs. Ultrasonic Finger Detection on a Virtual Piano KeyboardYuri De Pra, Federico Fontana, Linmi Tao. [doi]
• The Creation and Projection of Space-Source in Electroacoustic MusicTheodoros Lotis. [doi]
• Auditory Fusion and Holophonic Musical Texture in Xenakis's PithopraktaPanayiotis Kokoras. [doi]
• o.io: a Unified Communications Framework for Music, Intermedia and Cloud InteractionAdrian Freed, David DeFilippo, Rama Gottfried, John MacCallum, Jeff Lubow, Derek Razo, David Wessel. [doi]
• The feature extraction based hypersampler in Il grifo nelle perle nere: a bridge between player and instrument paradigmMarco Marinoni. [doi]
• Interactive Performance Systems Conceptual interacting strategies in forming electroacoustic sound identitiesGeorgia Kalodiki. [doi]
• Musical Audio Denoising Assuming Symmetric α-Stable NoiseNikoletta Bassiou, Constantine Kotropoulos. [doi]
• Recommending Music to Groups in Fitness ClassesBerardina De Carolis, Stefano Ferilli, Nicola Orio. [doi]
• Eroticism and Time in Computer Music: Juliana Hodkinson and Niels Rønsholdt's Fish & FowlDanielle Sofer. [doi]
• pOM: Linking Pen Gestures to Computer-Aided Composition ProcessesJérémie Garcia, Philippe Leroux, Jean Bresson. [doi]
• Understanding and Tuning Mass-Interaction Networks Through Their Modal RepresentationJérôme Villeneuve, Claude Cadoz. [doi]
• Principles of Visual Design for Computer MusicGe Wang. [doi]
• Test Methods for Score-Based Interactive Music SystemsClément Poncelet Sanchez, Florent Jacquemard. [doi]
• N-gon Waves - Audio Applications of the Geometry of Regular Polygons in the Time DomainDominik Chapman, Mick Grierson. [doi]
• Evaluation Perceptual Separation in an Pilot System for Affective CompositionDuncan Williams, Alexis Kirke, Eduardo R. Miranda, Ian Daly, Etienne B. Roesch, James Weaver, Slawomir J. Nasuto. [doi]
• Mobile Phones as Ubiquitous Instruments: Towards Standardizing Performance Data on the NetworkNathan Bowen, David Reeder. [doi]
• tactile.motion: An iPad Based Performance Interface For Increased Expressivity In Diffusion PerformanceBridget Johnson, Michael Norris, Ajay Kapur. [doi]
• ICE - towards distributed networked computermusic ensembleWinfried Ritsch. [doi]
• Modelling the live-electronics in electroacoustic music using particle systemsAndré V. Perrotta, Flo Menezes, Luis Gustavo Martins. [doi]
• Bassline Pitch Prediction for Real-Time Performance SystemsAndrew Robertson. [doi]
• ImmLib - A new library for immersive spatial compositionMiguel Cerdeira Negrão. [doi]
• Towards Open 3D Sound Diffusion SystemsFernando Lopez-Lezcano. [doi]
• Declarative Composition and Reactive Control in MarsyasJakob Leben, George Tzanetakis. [doi]
• Resolving Octave Ambiguities: A Cross-dataset InvestigationLi Su, Li-Fan Yu, Yi-Hsuan Yang, Hsin-Yu Lai. [doi]
• Corpora for Music Information Research in Indian Art MusicAjay Srinivasamurthy, Gopala Krishna Koduri, Sankalp Gulati, Vignesh Ishwar, Xavier Serra. [doi]
• Unisoner: An Interactive Interface for Derivative Chorus Creation from Various Singing Voices on the WebKeita Tsuzuki, Tomoyasu Nakano, Masataka Goto, Takeshi Yamada, Shoji Makino. [doi]
• Query-by-Multiple-Examples: Content-Based Search in Computer-Assisted Sound-Based Musical CompositionTiago Fernandes Tavares, Jônatas Manzolli. [doi]
• A flexible and modular crosslingual voice conversion systemAnderson Fraiha Machado, Marcelo Queiroz. [doi]
• Sensors2PD: Mobile sensors and WiFi information as input for Pure DataAntonio Deusany De Carvalho Junior. [doi]
• Animating Timbre - A User StudySean Soraghan. [doi]
• Programmation and Control of Faust Sound Processing in OpenMusicDimitri Bouche, Jean Bresson, Stéphane Letz. [doi]
• Could the endless progressions in James Tenney's music be viewed as sonic koans?François-Xavier Féron. [doi]
• SoDA: A Sound Design Accelerator for the automatic generation of soundscapes from an ontologically annotated sound libraryAndrea Valle, Paolo Armao, Matteo Casu, Marinos Koutsomichalis. [doi]
• Sense: an electroacoustic composition for surround sound and tactile transducersPanayiotis Kokoras. [doi]
• Gene expression synthesisAlo Allik. [doi]
• Turnector: Tangible ControlWidgets For Capacitive Touchscreen DevicesEdward Kingsley Rutter, Tom Mitchell, Chris Nash. [doi]
• Distance in Pitch Sensitive Time-span TreeMasaki Matsubara, Keiji Hirata, Satoshi Tojo. [doi]
• Exploring a Visual/Sonic Representational ContinuumLindsay Vickery. [doi]
• Listening Otherwise: Playing with Sound VibrationPascale Criton. [doi]
• Contemporary Practices in the Performance and Sustainability of Computer Music RepertoireJeremy C. Baguyos. [doi]
• Modulus p Rhythmic Tiling Canons and some implementations in Open Music visual programming languageHélianthe Caure, Carlos Agon, Moreno Andreatta. [doi]
• Griddy: a Drawing Based Music Composition System with Multi-layered StructureLuke Keunhyoung Kim, Woon Seung Yeo. [doi]
• CeMFI and Earquake: (Epi-)Centers for Experimental Music, Media and ResearchAristotelis Hadjakos, Steffen Bock, Fabien Lévy. [doi]
• Detection of Random Spectral Alterations of Sustained Musical Instrument Tones in Repeated Note ContextsChung Lee, Andrew Horner. [doi]
• The "Harmonic Walk": an Interactive Educational Environment to Discover Musical ChordsMarcella Mandanici, Antonio Rodà, Sergio Canazza. [doi]
• The Breath Engine: Challenging Biological and Technological Boundaries through the Use of NK Complex Adaptive SystemsJoe Cantrell, Colin Zyskowski, Drew Ceccato. [doi]
• Algebraic Mozart by Tree SynthesisKeiji Hirata, Satoshi Tojo, Masatoshi Hamanaka. [doi]
• SoundScapeTK: A Platform for Mobile SoundscapesThomas Stoll. [doi]
• Optimal Acoustic Reverberation Evaluation of Byzantine Chanting in ChurchesJohn Mourjopoulos, Charalambos Papadakos, Gavriil Kamaris, Georgios Chryssochoidis, Georgios Kouroupetoglou. [doi]
• The notion of Ethos in Arabic music: computational modeling of Al-Urmawi's modes (13th Century) in CsoundRaed Belhassen. [doi]
• The Effectiveness of Visual Feedback Singing Vocal Technology in Greek Elementary SchoolSofia Stavropoulou, Anastasia Georgaki, Fotis Moschos. [doi]
• Tangibility and Low-Level Live CodingGeorgios Diapoulis, Ioannis Zannos. [doi]
• Modular Physical Modeling Synthesis Environments on GPUStefan Bilbao, Alberto Torin, Paul Graham, James Perry, Gordon Delap. [doi]
• Corporeality, Actions and Perceptions in Gestural Performance of Digital MusicJan C. Schacher. [doi]
• POLISphone: Creating and performing with a flexible soundmapFilipe Lopes, Paulo Rodrigues. [doi]
• Landmark Detection in Hindustani Music MelodiesSankalp Gulati, Joan Serrà, Kaustuv Kanti Ganguli, Xavier Serra. [doi]
• Kuatro: A Motion-Based Framework for Interactive Music InstallationsDavid Johnson, Bill Z. Manaris, Yiorgos Vassilandonakis, Seth Stoudenmier. [doi]
• How blue is Mozart? Non verbal sensory scales for describing music qualitiesMaddalena Murari, Antonio Rodà, Osvaldo Da Pos, Sergio Canazza, Giovanni De Poli, Marta Sandri. [doi]
• EmbodiComp: Embodied Interaction for Mixing and CompositionDalia El-Shimy, Steve Cowan, Jeremy R. Cooperstock. [doi]
• Being There & Being With: The Philosophical and Cognitive Notions of Presence and Embodiment in Virtual InstrumentsAnnie Luciani. [doi]
• Flocking: A Framework for Declarative Music-Making on the WebColin Clark, Adam R. Tindale. [doi]
• Creative Symbolic InteractionGérard Assayag. [doi]
• OPERAcraft: Blurring the Lines between Real and VirtualIvica Ico Bukvic, Cody Cahoon, Ariana Wyatt, Tracy Cowden, Katie Dredger. [doi]
• The Procedural Sounds and Music of ECHO: : CanyonRobert Hamilton. [doi]
• Polytempo Network: A System for Technology-Assisted ConductingPhilippe Kocher. [doi]
• Sonic Scenography - Equalized Structure-borne Sound for Aurally Active Set DesignOtso Lähdeoja, Aki Haapaniemi, Vesa Välimäki. [doi]
• An Experimental Classification of the Programming Patterns for Scheduling in Computer Music ProgrammingHiroki Nishino. [doi]
• Computational ethnomusicology: a music information retrieval perspectiveGeorge Tzanetakis. [doi]
• Color and emotion caused by auditory stimuliElena Partesotti, Tiago Fernandes Tavares. [doi]
• MoveOSC - Smart Watches in Mobile Music PerformanceAlex Migicovsky, Jonah Scheinerman, Georg Essl. [doi]
• Kara: a BCI approach to compositionRodrigo F. Cádiz, Patricio de la Cuadra. [doi]
• Computing Musical Meter - an Approach to an Integrated Formal DescriptionBernd Härpfer. [doi]
• Evaluating HRTF Similarity through Subjective Assessments: Factors that can Affect JudgmentAreti Andreopoulou, Agnieszka Roginska. [doi]
• Swarm Lake: A Game of Swarm Intelligence, Human Interaction and Collaborative Music CompositionMaximos A. Kaliakatsos-Papakostas, Andreas Floros, Konstantinos Drossos, Konstantinos Koukoudis, Manolis Kyzalas, Achilleas Kalantzis. [doi]
• Timbre Features and Music Emotion in Plucked String, Mallet Percussion, and Keyboard TonesChuck-jee Chau, Bin Wu, Andrew Horner. [doi]
• Modes of Sonic Interaction in Circus: Three Proofs of ConceptLudvig Elblaus, Maurizio Goina, Marie-Andrée Robitaille, Roberto Bresin. [doi]
• Examining the Analysis of Dynamical Sonic Ecosystems: in Light of a Criterion for Evaluating TheoriesMichael Musick. [doi]
• LC: A New Computer Music Programming Language with Three Core FeaturesHiroki Nishino, Naotoshi Osaka, Ryohei Nakatsu. [doi]
• NEYMA, interactive soundscape composition based on a low budget motion capture systemStefano Alessandretti, Giovanni Sparano. [doi]
• Real-time Manipulation of Syncopation in Audio LoopsDiogo Cocharro, George Sioros, Marcelo Caetano, Matthew E. P. Davies. [doi]
• From Automatic Sound Analysis of Gameplay Footage [Echos] to the Understanding of Player Experience [Ethos]: an Interdisciplinary Approach to Feedback- Based Gameplay MetricsRaphaël Marczak, Pierre Hanna, Jean-Luc Rouas, Jasper van Vught, Gareth Schott. [doi]
• University of Helsinki Music Research Laboratory and Electronic Music Studio - The first 50 years and beyondKai Lassfolk, Mikko Ojanen. [doi]
• Music Systemisers and Music Empathisers - Do they rate expressiveness of computer generated performances the same?Emery Schubert, Giovanni De Poli, Antonio Rodà, Sergio Canazza. [doi]
• Ethos in Sound Design for Brand AdvertisementElio Toppano, Alessandro Toppano. [doi]
• A Paradigm Shift for Modelling Sound SensationJohn Mourjopoulos. [doi]
• Automatic Competency Assessment of Rhythm Performances of Ninth-grade and Tenth-grade PupilsJakob Abeßer, Johannes Hasselhorn, Sascha Grollmisch, Christian Dittmar, Andreas Lehmann. [doi]
• Tempo Prediction Model for Accompaniment SystemShizuka Wada, Yasuo Horiuchi, Shingo Kuroiwa. [doi]
• 3DMIN - Challenges and Interventions in Design, Development and Dissemination of New Musical InstrumentsTill Bovermann, Amelie Hinrichsen, Dominik Hildebrand Marques Lopes, Alberto de Campo, Hauke Egermann, Alexander Foerstel, Sarah-Indriyati Hardjowirogo, Andreas Pysiewicz, Stefan Weinzierl. [doi]
• Violin Fingering Estimation According to Skill Level based on Hidden Markov ModelWakana Nagata, Shinji Sako, Tadashi Kitamura. [doi]
• Takt: A read-eval-play-loop interpreter for a structural/procedural score languageSatoshi Nishimura. [doi]
• Design process for interactive sound installations: the designer, the interactor and the systemCécile Le Prado, Stéphane Natkin. [doi]
• Translation as Technique: Collaboratively Creating an Electro-Acoustic Composition for Saxophone and Live Video ProjectionChristopher Jette, Kelland Thomas, Javier Villegas, Angus Graeme Forbes. [doi]
• HMM-Based Automatic Arrangement for Guitars with Transposition and its ImplementationGen Hori, Shigeki Sagayama. [doi]