Table of Contents

• The Haptic Capstans: Rotational Force Feedback for Music using a FireFader Derivative DeviceEric Sheffield, Edgar Berdahl, Andrew Pfalz. 1-2 [doi]
• The Closed-Loop Robotic Glockenspiel: Improving Musical Robots with Embedded Musical Information RetrievalJason Long, Dale A. Carnegie, Ajay Kapur. 2-7 [doi]
• SpectraScore VR: Networkable virtual reality software tools for real-time composition and performanceBenedict Carey. 3-4 [doi]
• Wireless Vibrotactile Tokens for Audio-Haptic Interaction with Touchscreen InterfacesEdgar Berdahl, Danny Holmes, Eric Sheffield. 5-6 [doi]
• Tango: Software for Computer-Human ImprovisationHenning Berg. 7-8 [doi]
• Electromagnetically Actuated Acoustic Amplitude Modulation SynthesisHerbert H. C. Chang, Spencer Topel. 8-13 [doi]
• Very Slack Strings: A Physical Model and Its Use in the Composition Quartet for StringsEdgar Berdahl, Andrew Pfalz, Stephen David Beck. 9-10 [doi]
• Tromba Moderna: A Digitally Augmented Medieval InstrumentAlex Baldwin, Troels Hammer, Edvinas Pechiulis, Peter Williams, Dan Overholt, Stefania Serafin. 14-19 [doi]
• Action-Sound Latency: Are Our Tools Fast Enough?Andrew P. McPherson, Robert H. Jack, Giulio Moro. 20-25 [doi]
• The Global Metronome: Absolute Tempo Sync For Networked Musical PerformanceReid Oda, Rebecca Fiebrink. 26-31 [doi]
• Coronium 3500: A Solarsonic Installation for CaramoorScott Smallwood. 32-35 [doi]
• 5500: performance, control, and politicsTomas Laurenzo. 36-40 [doi]
• speaker.motion: A Mechatronic Loudspeaker System for Live SpatialisationBridget Johnson, Michael Norris, Ajay Kapur. 41-45 [doi]
• Towards a Mappable Database of Emergent Gestural MeaningDoug Van Nort, Ian Jarvis, Michael Palumbo. 46-50 [doi]
• An Analogue Interface for Musical RobotsJason Long, Ajay Kapur, Dale A. Carnegie. 51-54 [doi]
• The ‘Virtualmonium’: an instrument for classical sound diffusion over a virtual loudspeaker orchestraNatasha Barrett, Alexander Refsum Jensenius. 55-60 [doi]
• The Smartphone Ensemble. Exploring mobile computer mediation in collaborative musical performanceJulián Jaramillo Arango, Daniel Melàn Giraldo. 61-64 [doi]
• Development of Fibre Polymer Sensor Reeds for Saxophone and ClarinetAlex Hofmann, Vasileios Chatziioannou, Alexander Mayer, Harry Hartmann. 65-68 [doi]
• MalletOTon and the Modulets: Modular and Extensible Musical RobotsAjay Kapur, Jim W. Murphy, Michael Darling, Eric Heep, Bruce Lott, Ness Morris. 69-72 [doi]
• Transforming 8-Bit Video Games into Musical Interfaces via Reverse Engineering and AugmentationBen Olson. 73-77 [doi]
• Musician and Mega-Machine: Compositions Driven by Real-Time Particle Collision Data from the ATLAS DetectorJuliana Cherston, Ewan Hill, Steven Goldfarb, Joseph A. Paradiso. 78-83 [doi]
• Mapping Everyday Objects to Digital Materiality in The Wheel Quintet: Polytempic Music and Participatory ArtAnders Lind, Daniel Nylén. 84-89 [doi]
• Haptic Music Player—Synthetic audio-tactile stimuli generation based on the notes’ pitch and instruments’ envelope mappingAlfonso Balandra, Hironori Mitake, Shoichi Hasegawa. 90-95 [doi]
• Notation for 3D Motion Tracking Controllers: A Gametrak Case StudyMadeline Huberth, Chryssie Nanou. 96-105 [doi]
• Networked Virtual Environments as Collaborative Music SpacesCem Çakmak, Anil Çamci, Angus G. Forbes. 106-111 [doi]
• Drum-Dance-Music-Machine: Construction of a Technical Toolset for Low-Threshold Access to Collaborative Musical PerformanceDominic Becking, Christine Steinmeier, Philipp Kroos. 112-117 [doi]
• Music Maker: 3d Printing and Acoustics CurriculumSasha Leitman, John Granzow. 118-121 [doi]
• The Hexenkessel: A Hybrid Musical Instrument for Multimedia PerformancesJacob T. Sello. 122-131 [doi]
• Active Acoustic Instruments for Electronic Chamber MusicOtso Lähdeoja. 132-136 [doi]
• SensorChimes: Musical Mapping for Sensor NetworksEvan F. Lynch, Joseph A. Paradiso. 137-142 [doi]
• NAKANISYNTH: An Intuitive Freehand Drawing Waveform Synthesiser Application for iOS DevicesKyosuke Nakanishi, Paul Haimes, Tetsuaki Baba, Kumiko Kushiyama. 143-145 [doi]
• StrumBot—An Overview of a Strumming Guitar RobotRichard Vindriis, Dale A. Carnegie. 146-151 [doi]
• Unfoldings: Multiple Explorations of Sound and SpaceTim Shaw, Simon J. Bowen, John Bowers 0001. 152-157 [doi]
• Driftwood: Redefining Sound Sculpture ControllersAlexandra Rieger, Spencer Topel. 158-159 [doi]
• Dooremi: a Doorway to MusicRébecca Kleinberger, Akito Van Troyer. 160-161 [doi]
• The extended clarinetCarl Jörgen Normark, Peter Parnes, Robert Ek, Harald Andersson. 162-167 [doi]
• Multi Rubbing Tactile InstrumentYoichi Nagashima. 168-169 [doi]
• A Web Application for Audience Participation in Live Music Performance: The Open Symphony Use CaseLeshao Zhang, Yongmeng Wu, Mathieu Barthet. 170-175 [doi]
• Understanding Cloud Support for the Audience Participation Concert Performance of Crowd in C[loud]Antonio Deusany De Carvalho Junior, Sang-Won Lee 0002, Georg Essl. 176-181 [doi]
• Game Design for Expressive Mobile MusicGe Wang. 182-187 [doi]
• Design and evaluation of a gesture driven wave field synthesis auditory gameJan Banas, Razvan Paisa, Iakovos Vogiatzoglou, Francesco Grani, Stefania Serafin. 188-193 [doi]
• The Perception of Live-sequenced Electronic Music via Hearing and SightMehmet Aydin Baytas, Tilbe Göksun, Oguzhan Özcan. 194-199 [doi]
• Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience ResponseS. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson. 200-205 [doi]
• Evaluating the Audience’s Perception of Real-time Gestural Control and Mapping Mechanisms in Electroacoustic Vocal PerformanceJiayue Cecilia Wu, Madeline Huberth, Yoo-Hsiu Yeh, Matthew Wright 0002. 206-211 [doi]
• Live Writing : Writing as a Real-time Audiovisual PerformanceSang-Won Lee 0002, Georg Essl, Mari Martinez. 212-217 [doi]
• The HandSolo: A Hand Drum Controller for Natural Rhythm Entry and ProductionKunal Jathal, Tae Hong Park. 218-223 [doi]
• The ’E’ in QWERTY: Musical Expression with Old Computer InterfacesChris Nash. 224-229 [doi]
• Focal : An Eye-Tracking Musical Expression ControllerStewart Greenhill, Cathie Travers. 230-235 [doi]
• The Laptop AccordionAidan Meacham, Sanjay Kannan, Ge Wang. 236-240 [doi]
• Hitmachine: Collective Musical Expressivity for NovicesKasper Buhl Jakobsen, Marianne Graves Petersen, Majken Kirkegaard Rasmussen, Jens Emil Groenbaek, Jakob Winge, Jeppe Stougaard. 241-246 [doi]
• Augmenting the iPad: the BladeAxeRomain Michon, Julius Orion Smith III, Matthew Wright 0002, Chris Chafe. 247-252 [doi]
• Transdisciplinary Methodology: from Theory to the Stage, Creation for the SICMAPBarah Héon-Morissette. 253-258 [doi]
• Kinéphone: Exploring the Musical Potential of an Actuated Pin-Based Shape DisplayXiao Xiao 0001, Donald Derek Haddad, Thomas Sanchez, Akito Van Troyer, Rébecca Kleinberger, Penny Webb, Joe Paradiso, Tod Machover, Hiroshi Ishii 0001. 259-264 [doi]
• Church Belles: An Interactive System and Composition Using Real-World MetaphorsSi Waite. 265-270 [doi]
• residUUm: user mapping and performance strategies for multilayered live audiovisual generationIreti Olowe, Giulio Moro, Mathieu Barthet. 271-276 [doi]
• Pendula: An Interactive Swing Installation and Performance EnvironmentKirandeep Bhumber, Nancy Lee, Brian Topp. 277-285 [doi]
• 3D Modelling and Printing of Microtonal FlutesMatthew Dabin, Terumi Narushima, Stephen Beirne, Christian H. Ritz, Kraig Grady. 286-290 [doi]
• Csound Instruments On StageAlex Hofmann, Bernt Isak Wærstad, Kristoffer E. Koch. 291-294 [doi]
• Controlling complex virtuel instruments—A setup with note  for Max and prepared piano sound synthesisThomas Resch, Stefan Bilbao. 295-299 [doi]
• Leimu: Gloveless Music Interaction Using a Wrist Mounted Leap MotionDom Brown, Nathan Renney, Adam Stark, Chris Nash, Tom Mitchell 0001. 300-304 [doi]
• Designing a Flexible Workflow for Complex Real-Time Interactive PerformancesEsteban Gómez, Javier Jaimovich. 305-309 [doi]
• x2Gesture: how machines could learn expressive gesture variations of expert musiciansChristina Volioti, Sotiris Manitsaris, Eleni Katsouli, Athanasios Manitsaris. 310-315 [doi]
• Emovere: Designing Sound Interactions for Biosignals and DancersJavier Jaimovich. 316-320 [doi]
• Music Aid—Towards a Collaborative Experience for Deaf and Hearing People in Creating MusicEne Alicia Söderberg, Rasmus Emil Odgaard, Sarah Bitsch, Oliver Høeg-Jensen, Nikolaj Schildt Christensen, Søren Dahl Poulsen, Steven Gelineck. 321-326 [doi]
• The Prospects of Musical Instruments For People with Physical DisabilitiesJeppe Veirum Larsen, Dan Overholt, Thomas B. Moeslund. 327-331 [doi]
• SoundMorpheus: A Myoelectric-Sensor Based Interface for Sound Spatialization and ShapingChristopher Benson, Bill Z. Manaris, Seth Stoudenmier, Timothy Ward. 332-337 [doi]
• PORTAL: An Audiovisual Laser Performance SystemGorkem Ozdemir, Anil Çamci, Angus G. Forbes. 338-343 [doi]
• Materiality for Musical Expressions: an Approach to Interdisciplinary Syllabus Development for NIMERikard Lindell, Koray Tahiroglu, Morten Riis, Jennie Schaeffer. 344-349 [doi]
• Frontiers: Expanding Musical Imagination With Audience ParticipationMarcelo Gimenes, Pierre-Emmanuel Largeron, Eduardo R. Miranda. 350-354 [doi]
• PourOver: A Sensor-Driven Generative Music PlatformKevin Schlei, Christopher Burns 0001, Aidan Menuge. 355-358 [doi]
• Hacking NIMEsAbram Hindle. 359-364 [doi]
• Drumming with style: From user needs to a working prototypeSergi Jordà, Daniel Gómez-Marín, Ángel Faraldo, Perfecto Herrera. 365-370 [doi]
• A Musical Game of Bowls Using the DIADsOliver Bown, Sam Ferguson. 371-372 [doi]
• How to Stop Sound: Creating a light instrument and ‘Interruption’ a piece for the Mimerlaven, Norberg Festival 2015Benjamin James Eyes, Laurits Esben Jongejan. 373-374 [doi]
• Headline grabs for music: The development of the iPad score generator for ‘Loaded (NSFW).’Cat Hope, Stuart James, Aaron Wyatt. 375-376 [doi]
• Reflection On Action in NIME Research: Two Complementary PerspectivesBenjamin Carey, Andrew Johnston. 377-382 [doi]
• An Interactive Software Instrument for Real-time Rhythmic Concatenative SynthesisCárthach Ó Nuanáin, Sergi Jordà, Perfecto Herrera. 383-387 [doi]
• XronoMorph: Algorithmic Generation of Perfectly Balanced and Well-Formed RhythmsAndrew J. Milne, Steffen A. Herff, David Bulger, William A. Sethares, Roger T. Dean. 388-393 [doi]
• Rhizomatic approaches to screen-based music notationLindsay Vickery. 394-400 [doi]
• A Multi-Point 2D Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound SynthesisStuart James. 401-406 [doi]
• Acoustic Localisation for Spatial Reproduction of Moving Sound Source: Application Scenarios & Proof of ConceptDominik Schlienger. 407-412 [doi]
• Towards a perceptual framework for interface design in digital environments for timbre manipulationSean Soraghan, Alain Renaud, Ben Supper. 413-418 [doi]
• Minimally Invasive Gesture Sensing Interface (MIGSI) for TrumpetSarah Reid, Ryan Gaston, Colin Honigman, Ajay Kapur. 419-424 [doi]
• NowGarth Paine. 425-426 [doi]
• BlockyTalky: A Physical and Distributed Computer Music Toolkit for KidsR. Benjamin Shapiro, Rebecca Fiebrink, Matthew P. Ahrens, Annie Kelly. 427-432 [doi]
• One Knob To Rule Them All: Reductionist Interfaces for Expansionist ResearchJohn Bowers 0001, John Richards, Tim Shaw, Jim Frize, Ben Freeth, Sam Topley, Neal Spowage, Steve Jones, Amit Patel, Li Rui, Will Edmondes. 433-438 [doi]
• Trends at NIME—Reflections on Editing A NIME ReaderAlexander Refsum Jensenius, Michael J. Lyons. 439-443 [doi]
• Non-intrusive Counter-actions: Maintaining Progressively Engaging Interactions for Music PerformanceKoray Tahiroglu, Juan-Carlos Vasquez, Johan Kildal. 444-449 [doi]