Table of Contents

• Creating biosignal algorithms for musical applications from an extensive physiological databaseJavier Jaimovich, R. Benjamin Knapp. 1-4 [doi]
• Rawr! a study in sonic skulls: embodied natural historyCourtney Brown, Sharif Razzaque, Garth Paine. 5-10 [doi]
• Distributed mechanical actuation of percussion instrumentsEric Sheffield, Michael Gurevich. 11-15 [doi]
• Microinteraction in music/dance performanceAlexander Refsum Jensenius. 16-19 [doi]
• Composing interactive dance pieces for the motioncomposer, a device for persons with disabilitiesAndreas Bergsland, Robert Wechsler. 20-23 [doi]
• Accessibility and dimensionalty: enhanced real-time creative independence for digital musicians with quadriplegic cerebral palsyBrendan McCloskey, Brian Bridges, Frank Lyons. 24-27 [doi]
• Sonification of fish movement using pitch mesh pairsAndrew Mercer-Taylor, Jaan Altosaar. 28-29 [doi]
• Phox ears: a parabolic, head-mounted, orientable, extrasensory listening deviceRebecca Kleinberger, Gershon Dublon, Joseph A. Paradiso, Tod Machover. 30-31 [doi]
• The haptic handEdgar Berdahl, Denis Huber. 32-33 [doi]
• Puff, puff, play: a sip-and-puff remote control for music playbackTommy Feldt, Sarah Freilich, Shaun Mendonsa, Daniel Molin, Andreas Rau. 34-35 [doi]
• A mobile music museum experience for childrenMikkel Helleberg Jørgensen, Aske Sønderby Knudsen, Thomas Michael Wilmot, Kasper Duemose Lund, Stefania Serafin, Hendrik Purwins. 36-37 [doi]
• Harmonic intonation trainer: an open implementation in pure dataHsin-Ming Lin, Chin-Ming Lin. 38-39 [doi]
• Indoor localization during installations using wifiAntonio Deusany De Carvalho Junior. 40-41 [doi]
• Visible excitation methods: energy and expressiveness in electronic music performanceDianne Verdonk. 42-43 [doi]
• Emotion in motion: a reimagined framework for biomusical/emotional interactionBrennon Bortz, Javier Jaimovich, R. Benjamin Knapp. 44-49 [doi]
• Highland piping ornament recognition using dynamic time warpingDuncan Menzies, Andrew McPherson. 50-53 [doi]
• Posture identification of musicians using non-intrusive low-cost resistive pressure sensorsDario Cazzani. 54-57 [doi]
• Sense of space: the audience participation music performance with high-frequency sound idMasami Hirabayashi, Kazuomi Eshima. 58-60 [doi]
• Doppelgänger: a solenoid-based large scale sound installationAsbjørn Blokkum Flø, Hans Wilmers. 61-64 [doi]
• Web-based temporal typography for musical expression and performanceSang-Won Lee, Georg Essl. 65-69 [doi]
• Start 'em young: digital music instrument for educationJiffer Harriman. 70-73 [doi]
• Wambam: a case study in design for an electronic musical instrument for severely intellectually disabled usersArvid Jense, Hans Leeuw. 74-77 [doi]
• Music-based respiratory biofeedback in visually-demanding tasksRhushabh Bhandari, Avinash Parnandi, Eva Shipp, Beena Ahmed, Ricardo Gutierrez-Osuna. 78-82 [doi]
• Musical notation for multi-touch interfacesWarren Enström, Joshua Dennis, Brian Lynch, Kevin Schlei. 83-86 [doi]
• Womba: a musical instrument for an unborn childAura Pon, Johnty Wang, Laurie Radford, Sheelagh Carpendale. 87-90 [doi]
• Tibetan singing prayer wheel: a hybrid musical- spiritual instrument using gestural controlJ. Cecilia Wu, Yoo-Hsiu Yeh, Romain Michon, Nathan Weitzner, Jonathan S. Abel, Matthew Wright. 91-94 [doi]
• Optical music recognition for interactive score displayDan Ringwalt, Roger B. Dannenberg, Andrew Russell. 95-98 [doi]
• Framework for exploration of performance spaceÖzgür Izmirli. 99-102 [doi]
• Managing musical complexity with embodied metaphorsRicky Graham, Brian Bridges. 103-106 [doi]
• Motor imagery: what does it offer for new digital musical instruments?Sair Sinan Kestelli. 107-110 [doi]
• Resonate - a social musical installation which integrates tangible multiuser interactionBenjamin Knichel, Holger Reckter, Peter Kiefer. 111-115 [doi]
• Reflets: combining and revealing spaces for musical performancesFlorent Berthaut, Diego Martinez Plasencia, Martin Hachet, Sriram Subramanian. 116-120 [doi]
• Orchestrating your cloud orchestraAbram Hindle. 121-125 [doi]
• Beyond editing: extended interaction with textual code fragmentsCharles Roberts, Matthew Wright, JoAnn Kuchera-Morin. 126-131 [doi]
• Musical engagement that is predicated on intentional activity of the performer with noisa instrumentsKoray Tahiroglu, Thomas Svedström, Valtteri Wikström. 132-135 [doi]
• Braahms: a novel adaptive musical interface based on users' cognitive stateBeste F. Yuksel, Daniel Afergan, Evan M. Peck, Garth Griffin, Lane Harrison, Nick W. B. Chen, Remco Chang, Robert J. K. Jacob. 136-139 [doi]
• Gestroviser: toward collaborative agency in digital musical instrumentsWilliam Marley, Nicholas Ward. 140-143 [doi]
• Ensemble feedback instrumentsMuhammad Hafiz Wan Rosli, Karl Yerkes, Matthew Wright, Timothy Wood, Hannah Wolfe, Charlie Roberts, Anis Haron, Fernando Rincón Estrada. 144-149 [doi]
• Physical modelling concepts for a collection of multisensory virtual musical instrumentsJames Leonard, Claude Cadoz. 150-155 [doi]
• What does 'evaluation' mean for the nime community?Jerônimo Barbosa, Joseph Malloch, Marcelo M. Wanderley, Stéphane Huot. 156-161 [doi]
• Exposing the scaffolding of digital instruments with hardware-software feedback loopsAndrew McPherson, Victor Zappi. 162-167 [doi]
• Reimagining the computer keyboard as a musical interfaceSi Waite. 168-169 [doi]
• A prototype for pitched gestural sonification of surfaces using two contact microphonesAlberto Novello, Antony Raijekoff. 170-173 [doi]
• A flexible platform for tangible graphic scoresSimon Alexander-Adams, Michael Gurevich. 174-175 [doi]
• Resonant bits: controlling digital musical instruments with resonance and the ideomotor effectPeter D. Bennett, Jarrod Knibbe, Florent Berthaut, Kirsten Cater. 176-177 [doi]
• Feedback lapsteel : exploring tactile transducers as string actuatorsJiffer Harriman. 178-179 [doi]
• Textural crossfaderMatthew Blessing, Edgar Berdahl. 180-181 [doi]
• Prototyping hand-based wearable music education technologyMikko Myllykoski, Kai Tuuri, Esa Viirret, Jukka Louhivuori. 182-183 [doi]
• Machine yearning: an industrial robotic arm as a performance instrumentJeff Snyder, Ryan Luke Johns, Charlie Avis, Gene Kogan, Axel Kilian. 184-186 [doi]
• Developing a physical gesture acquisition system for guqin performanceJingyin He, Ajay Kapur, Dale A. Carnegie. 187-190 [doi]
• Creating tangible spatial-musical images from physical performance gesturesNatasha Barrett. 191-194 [doi]
• Visual representation in genesis as a tool for physical modeling, sound synthesis and musical compositionJérôme Villeneuve, Claude Cadoz, Nicolas Castagné. 195-200 [doi]
• Interactive lighting in the pearl: considerations and implementationIan Hattwick, Marcelo M. Wanderley. 201-204 [doi]
• Livo: sing a song with a vowel keyboardKazuhiko Yamamoto, Takeo Igarashi. 205-208 [doi]
• The hayward tuning vine: an interface for just intonationRobin Hayward. 209-214 [doi]
• Mumyo - evaluating and exploring the myo armband for musical interactionKristian Nymoen, Mari Romarheim Haugen, Alexander Refsum Jensenius. 215-218 [doi]
• Tingle: a digital music controller re-capturing the acoustic instrument experienceRhys Duindam, Diemo Schwarz, Hans Leeuw. 219-222 [doi]
• Pratical evaluation of synthesis performance on the beaglebone blackIvan Franco, Marcelo M. Wanderley. 223-226 [doi]
• The bistable resonator cymbal: an actuated acoustic instrument displaying physical audio effectsAndrew Piepenbrink, Matthew Wright. 227-230 [doi]
• The pneumatic practice padEric Sheffield, Sile O'Modhrain, Michael Gould, R. Brent Gillespie. 231-234 [doi]
• Multi-point vibrotactile feedback for an expressive musical interfaceStefano Papetti, Sébastien Schiesser, Martin Fröhlich. 235-240 [doi]
• Septar: audio breakout design for multichannel guitarRichard Graham, John Harding. 241-244 [doi]
• Caress: an electro-acoustic percussive instrument for caressing soundsAli Momeni. 245-250 [doi]
• Grouploop: a collaborative, network-enabled audio feedback instrumentDavid B. Ramsay, Joseph A. Paradiso. 251-254 [doi]
• Airpiano: a multi-touch keyboard with hovering controlNicolas D'Alessandro, Joëlle Tilmanne, Ambroise Moreau, Antonin Puleo. 255-258 [doi]
• Duet interaction: learning musicianship for automatic accompanimentGuangyu Xia, Roger B. Dannenberg. 259-264 [doi]
• Ml.lib: robust, cross-platform, open-source machine learning for max and pure dataJamie Bullock, Ali Momeni. 265-270 [doi]
• Mapping strategies and sound engine design for an augmented hybrid pianoPalle Dahlstedt. 271-276 [doi]
• Designing dmis for popular music in the brazilian northeast: lessons learnedJerônimo Barbosa, Filipe Calegario, João Tragtenberg, Giordano Cabral, Geber Ramalho, Marcelo M. Wanderley. 277-280 [doi]
• Fields: an exploration into the use of mobile devices as a medium for sound diffusionTim Shaw, Sébastien Piquemal, John Bowers. 281-284 [doi]
• Mmodm: massively multipler online drum machineBasheer Tome, Donald Derek Haddad, Tod Machover, Joseph A. Paradiso. 285-288 [doi]
• Musical instrument design process for mobile technologyTimothy J. Barraclough, Dale A. Carnegie, Ajay Kapur. 289-292 [doi]
• Mallo: a distributed synchronized musical instrument designed for internet performanceZeyu Jin, Reid Oda, Adam Finkelstein, Rebecca Fiebrink. 293-298 [doi]
• Enacting musical worlds: common approaches to using nimes within both performance and person-centred arts practicesLauren Hayes. 299-302 [doi]
• Augmenting a guitar with its digital footprintSteve Benford, Adrian Hazzard, Alan Chamberlain, Liming Xu. 303-306 [doi]
• Fourteen years of nime: the value and meaning of `community' in interactive music researchAdnan Marquez-Borbon, Paul Stapleton. 307-312 [doi]
• Clavision: visual automatic piano music transcriptionM. Akbari, Howard Cheng. 313-314 [doi]
• Arrangements: flexibly adapting music data for live performanceRoger B. Dannenberg, Andrew Russell. 315-316 [doi]
• The bucket system - a computer mediated signalling system for group improvisationPalle Dahlstedt, Per Anders Nilsson, Gino Robair. 317-318 [doi]
• Prototyping audiovisual performance tools: a hackathon approachNuno N. Correia, Atau Tanaka. 319-321 [doi]
• Chordease: a midi remapper for intuitive performance of non-modal musicChris Korda. 322-324 [doi]
• Musicmapper: interactive 2d representations of music samples for in-browser remixing and explorationEthan Benjamin, Jaan Altosaar. 325-326 [doi]
• Descriptors for perception of quality in jazz piano improvisationJeff Gregorio, David S. Rosen, Michael N. Caro, Youngmoo E. Kim. 327-328 [doi]
• Snare drum motion capture datasetRobert Van Rooyen, Andrew Schloss, George Tzanetakis. 329-330 [doi]
• Pd poems and teaching toolsJiffer Harriman. 331-334 [doi]
• But does it float? reflections on a sound art ecological interventionAdnan Marquez-Borbon. 335-338 [doi]
• Pragmatic drum motion capture systemRobert Van Rooyen, George Tzanetakis. 339-342 [doi]
• Stage- vs. channel-strip metaphor - comparing performance when adjusting volume and panning of a single channel in a stereo mixSteven Gelineck, Dannie Korsgaard, Morten Büchert. 343-346 [doi]
• Gestural electronic music using machine learning as generative deviceJan C. Schacher, Chikashi Miyama, Daniel Bisig. 347-350 [doi]
• Sensors on stage: conquering the requirements of artistic experiments and live performancesSimon Waloschek, Aristotelis Hadjakos. 351-354 [doi]
• Serverless and peer-to-peer distributed interfaces for musical controlAndrés Cabrera. 355-358 [doi]
• Tracking ensemble performance on touch-screens with gesture classification and transition matricesCharles Martin, Henry J. Gardner, Ben Swift. 359-364 [doi]
• Major thirds: a better way to tune your ipadHans Anderson, Kin Wah Edward Lin, Natalie Agus, Simon Lui. 365-368 [doi]
• Representation-plurality in multi-touch mobile visual programming for musicQi Yang, Georg Essl. 369-373 [doi]
• Generate expressive music from picture with a handmade multi-touch music tableSimon Lui. 374-377 [doi]
• Considering musical structure in location-based experiencesAdrian Hazzard, Steve Benford, Alan Chamberlain, Chris Greenhalgh. 378-381 [doi]
• Liveness through the lens of agency and causalityFlorent Berthaut, David Coyle, James W. Moore, Hannah Limerick. 382-386 [doi]
• Vesball: a ball-shaped instrument for music therapyAjit Nath, Samson Young. 387-391 [doi]
• Rwa - a game engine for real world audio gamesThomas Resch. 392-395 [doi]
• Mobilefaust: a set of tools to make musical mobile applications with the faust programming languageRomain Michon, Julius O. Smith III, Yann Orlarey. 396-399 [doi]
• Realtime classification of hand-drum strokesMichael Krzyzaniak, Garth Paine. 400-403 [doi]
• A methodology for evaluating robotic striking mechanisms for musical contextsJason Long, Jim W. Murphy, Ajay Kapur, Dale A. Carnegie. 404-407 [doi]
• Marie: monochord-aerophone robotic instrument ensembleTroy Rogers, Steven Kemper, Scott Barton. 408-411 [doi]