Abstract is missing.
- Voice coil actuators for percussion roboticsRobert Van Rooyen, Andrew Schloss, George Tzanetakis. 1-6 [doi]
- Designing a multi-touch etextile for music performancesMaurin Donneaud, Cédric Honnet, Paul Strohmeier. 7-12 [doi]
- Beads extended actuated digital shakerPeter Williams, Daniel Overholt. 13-18 [doi]
- Passively augmenting mobile devices towards hybrid musical instrument designRomain Michon, Julius O. Smith, Matthew Wright, Christopher Chafe, John Granzow, Ge Wang. 19-24 [doi]
- Self-resonating feedback cello: interfacing gestural and generative processes in improvised performanceAlice Eldridge, Chris Kiefer. 25-29 [doi]
- Fragile instruments: constructing destructible musical interfacesDonald Derek Haddad, Xiao Xiao, Tod Machover, Joe Paradiso. 30-33 [doi]
- An augmented flute for beginnersFlorian Heller, Irene Meying Cheung Ruiz, Jan O. Borchers. 34-37 [doi]
- Cross-modal terrains: navigating sonic space through haptic feedbackGabriella Isaac, Lauren Hayes, Todd Ingalls. 38-41 [doi]
- Towards robust tracking with an unreliable motion sensor using machine learningJiayue Wu, Mark Rau, Yun Zhang, Yijun Zhou, Matt Wright. 42-47 [doi]
- Sounding architecture: inter-disciplinary studio at hkuÁlvaro Barbosa, Thomas Tsang. 48-51 [doi]
- Osiris: a liquid based digital musical instrumentMartin Matus Lerner. 52-55 [doi]
- Navigating descriptive sub-representations of musical timbreSpyridon Stasis, Jason Hockman, Ryan Stables. 56-61 [doi]
- Pitch fork: a novel tactile digital musical instrumentPeter Williams, Dan Overholt. 62-64 [doi]
- Biostomp: a biocontrol system for embodied performance using mechanomyographyCagri Erdem, Anil Çamci, Angus Forbes. 65-70 [doi]
- Audio-visual feedback for self-monitoring posture in ballet trainingEsben W. Knudsen, Malte L. Hølledig, Mads Juel Nielsen, Rikke K. Petersen, Sebastian Bach-Nielsen, Bogdan-Constantin Zanescu, Dan Overholt, Hendrik Purwins, Kim Helweg. 71-76 [doi]
- Augmented embodied performance - extended artistic room, enacted teacher, and humanisation of technologyRikard Lindell, Tomas Kumlin. 77-82 [doi]
- Homo restis - constructive control through modular string topologiesJens Vetter, Sarah Leimcke. 83-86 [doi]
- Exploring playfulness in nime design: the case of live looping toolsJerônimo Barbosa, Marcelo M. Wanderley, Stéphane Huot. 87-92 [doi]
- Exquisite score: a system for collaborative musical compositionDaniel Manesh, Eran Egozy. 93-98 [doi]
- Somatic sound in performative contextsStahl Stenslie, Kjell Tore Innervik, Ivar Frounberg, Thom Johansen. 99-103 [doi]
- States and sound: modelling interactions with musical user interfacesJeppe Veirum Larsen, Hendrik Knoche. 104-109 [doi]
- Improvised duet interaction: learning improvisation techniques for automatic accompanimentGuangyu Xia, Roger B. Dannenberg. 110-114 [doi]
- Physical interactions with digital strings - a hybrid approach to a digital keyboard instrumentPalle Dahlstedt. 115-120 [doi]
- Gibberwocky: new live-coding instruments for musical performanceCharles Roberts, Graham Wakefield. 121-126 [doi]
- Current iteration of a course on physical interaction design for musicSasha Leitman. 127-132 [doi]
- From interface design to the software instrument - mapping as an approach to fx-instrument buildingAlex Hofmann, Bernt Isak Waerstad, Saranya Balasubramanian, Kristoffer E. Koch. 133-138 [doi]
- Rethinking reflexive looper for structured pop musicMarco Marchini, François Pachet, Benoît Carré. 139-144 [doi]
- Shader-based physical modelling for the design of massive digital musical instrumentsVictor Zappi, Andrew Allen, Sidney Fels. 145-150 [doi]
- Vrmin: using mixed reality to augment the theremin for musical tutoringDavid Johnson, George Tzanetakis. 151-156 [doi]
- Exploring pitch and timbre through 3d spaces: embodied models in virtual reality as a basis for performance systems designRichard Graham, Brian Bridges, Christopher Manzione, William Brent. 157-162 [doi]
- Discovering instruments in scores: a repertoire-driven approach to designing new interfaces for musical expressionMichael Gurevich. 163-168 [doi]
- Designing intent: defining critical meaning for nime practitionersJoe Cantrell. 169-173 [doi]
- Idiomatic composition practices for new musical instruments: context, background and current applicationsJuan C. Vasquez, Koray Tahiroglu, Johan Kildal. 174-179 [doi]
- Revgest: augmenting gestural musical instruments with revealed virtual objectsFlorent Berthaut, Cagan Arslan, Laurent Grisoni. 180-185 [doi]
- Mm-rt: a tabletop musical instrument for musical wonderersAkito Van Troyer. 186-191 [doi]
- Design for longevity: ongoing use of instruments from nime 2010-14Fabio Morreale, Andrew P. McPherson. 192-197 [doi]
- Vokinesis: syllabic control points for performative singing synthesisSamuel Delalez, Christophe d'Alessandro. 198-203 [doi]
- A qualitative analysis of haptic feedback in music focused exercisesGareth W. Young, Dave Murphy, Jeffrey Weeter. 204-209 [doi]
- Towards related-dedicated input devices for parametrically rich mechatronic musical instrumentsJingyin He, Jim W. Murphy, Dale A. Carnegie, Ajay Kapur. 210-215 [doi]
- Design considerations for instruments for users with complex needs in sen settingsAsha Blatherwick, Luke Woodbury, Tom Davis. 216-221 [doi]
- Performance with an electronically excited didgeridooAbram Hindle, Daryl Posnett. 222-226 [doi]
- Rapid prototyping of new instruments with codecircleMichael Zbyszynski, Mick Grierson, Matthew Yee-King. 227-230 [doi]
- A knowledge-based, data-driven method for action-sound mappingFederico Visi, Baptiste Caramiaux, Michael Mcloughlin, Eduardo Reck Miranda. 231-236 [doi]
- Chuckpad: social coding for computer musicSpencer Salazar, Mark Cerqueira. 237-240 [doi]
- Ambidice: an ambient music interface for tabletop role-playing gamesAxel Berndt, Simon Waloschek, Aristotelis Hadjakos, Alexander Leemhuis. 241-244 [doi]
- Sound design for a system of 1000 distributed independent audio-visual devicesSam Ferguson, Anthony Rowe, Oliver Bown, Liam Birtles, Chris Bennewith. 245-250 [doi]
- An intelligent drum machine for electronic dance music production and performanceRichard Vogl, Peter Knees. 251-256 [doi]
- A low-cost mri compatible keyboardMartin Snejbjerg Jensen, Ole Adrian Heggli, Patricia Alves Da Mota, Peter Vuust. 257-260 [doi]
- Live coding youtube: organizing streaming media for an audiovisual performanceSang-Won Lee 0002, Jungho Bang, Georg Essl. 261-266 [doi]
- Hive: an interactive sculpture for musical expressionSolen Kiratli, Akshay Cadambi, Yon Visell. 267-270 [doi]
- The joystyx: a quartet of embedded acoustic instrumentsMatthew Blessing, Edgar Berdahl. 271-274 [doi]
- A virtual machine for live coding language designGraham Wakefield, Charles Roberts. 275-278 [doi]
- The feral cello: a philosophically informed approach to an actuated instrumentTom Davis. 279-282 [doi]
- O soli mio: exploring millimeter wave radar for musical interactionFrancisco Bernardo, Nicholas Arner, Paul Batchelor. 283-286 [doi]
- Insight2osc: using the brain and the body as a musical instrument with the emotiv insightConstanza Levican, Andrés Aparicio, Vernon Belaunde, Rodrigo F. Cádiz. 287-290 [doi]
- Arraynger: new interface for interactive 360° spatializationBenjamin Smith, Neal Anderson. 291-295 [doi]
- The liberation of the feet: demaking the high heeled shoe for theatrical audio-visual expressionAlexandra Murray-Leslie, Andrew Johnston. 296-301 [doi]
- Salto: a system for musical expression in the aerial artsChristiana Rose. 302-306 [doi]
- Wireless sensing for artistic applications, a reflection on sense/stage to motivate the design of the next stageMarije A. J. Baalman. 307-312 [doi]
- Glasstra: exploring the use of an inconspicuous head mounted display in a live technology-mediated music performanceIvica Bukvic, Spencer Lee. 313-318 [doi]
- Cyther: a human-playable, self-tuning robotic zitherScott Barton, Ethan Prihar, Paulo Carvalho. 319-324 [doi]
- Piano pedaller: a measurement system for classification and visualisation of piano pedalling techniquesBeici Liang, György Fazekas, Andrew McPherson, Mark B. Sandler. 325-329 [doi]
- A closed-loop control system for robotic hi-hatsJason Long, Jim W. Murphy, Dale A. Carnegie, Ajay Kapur. 330-335 [doi]
- Gestus: teaching soundscape composition and performance with a tangible interfaceStratos Kountouras, Ioannis Zannos. 336-341 [doi]
- Exploring the effect of interface constraints on live collaborative music improvisationHazar Emre Tez, Nick Bryan-Kinns. 342-347 [doi]
- Fabrickeyboard: multimodal textile sensate media as an expressive and deformable musical interfaceIrmandy Wicaksono, Joseph A. Paradiso. 348-353 [doi]
- A wearable foot-mounted / instrument-mounted effect controller: design and evaluationKristians Konovalovs, Jelizaveta Zovnercuka, Ali Adjorlu, Daniel Overholt. 354-357 [doi]
- Nonlinear acoustic synthesis in augmented musical instrumentsHerbert Ho-Chun Chang, Lloyd May, Spencer Topel. 358-363 [doi]
- From atmosphere to intervention: the circular dynamic of installations in hospital waiting areasGeorg Hajdu, Benedict Carey, Goran Lazarevic, Eckhard Weymann. 364-369 [doi]
- A user experience review of music interaction evaluationsDom Brown, Chris Nash, Tom Mitchell 0001. 370-375 [doi]
- Conducting sound in spaceWayne Siegel. 376-380 [doi]
- The fragment stringSpencer Salazar, Sarah Reid, Daniel McNamara. 381-386 [doi]
- Ghostfinger: a novel platform for fully computational fingertip controllersStaas de Jong. 387-392 [doi]
- The finer the musician, the smaller the details: nimecraft under the microscopeJack Armitage, Fabio Morreale, Andrew P. McPherson. 393-398 [doi]
- Virtual-acoustic instrument design: exploring the parameter space of a string-plate modelSandor Mehes, Maarten van Walstijn, Paul Stapleton. 399-403 [doi]
- Satie: a live and scalable 3d audio scene rendering environment for large multi-channel loudspeaker configurationsNicolas Bouillot, Zack Settel, Michal Seta. 404-409 [doi]
- Shaping and exploring interactive motion-sound mappings using online clustering techniquesHugo Scurto, Frédéric Bevilacqua, Jules Françoise. 410-415 [doi]
- A responsive user body suit (rubs)Kiran Bhumber, Bob Pritchard, Kitty Rodé. 416-419 [doi]
- Applying the ebu r128 loudness standard in live-streaming sound sculpturesMarie Koldkjær Højlund, Morten S. Riis, Daniel Rothmann, Jonas R. Kirkegaard. 420-425 [doi]
- Spatial audio approaches for embedded sound art installations with loudspeaker line arraysEdgar Berdahl, Matthew Blessing, Matthew Williams, Pacco Tan, Brygg Ullmer, Jesse T. Allison. 426-430 [doi]
- Design and evaluation of a digital theatre wind machineFiona Keenan, Sandra Pauletto. 431-435 [doi]
- Design of hardware systems for professional artistic applicationsIan Hattwick, Marcelo M. Wanderley. 436-441 [doi]
- Exploring the myo controller for sonic microinteractionAlexander Refsum Jensenius, Victor Gonzalez Sanchez, Agata Zelechowska, Kari Anne Vadstensvik Bjerkestrand. 442-445 [doi]
- Stride for interactive musical instrument designJoseph Tilbian, Andrés Cabrera. 446-449 [doi]
- Gekipe, a gesture-based interface for audiovisual performanceJosé Miguel Fernandez, Thomas Köppel, Nina Verstraete, Grégoire Lorieux, Alexander Vert, Philippe Spiesser. 450-455 [doi]
- Hear you later alligator: how delayed auditory feedback affects non-musically trained people's strummingJeppe Larsen, Hendrik Knoche. 456-459 [doi]
- Oops: an audio synthesis library in c for embedded (and other) applicationsMichael Mulshine, Jeff Snyder. 460-463 [doi]
- Composing and realising a game-like performance for disklavier and electronicsMaria Kallionpää, Chris Greenhalgh, Adrian Hazzard, David M. Weigl, Kevin R. Page, Steve Benford. 464-469 [doi]
- Contextualizing musical organics: an ad-hoc organological classification approachThor Magnusson. 470-475 [doi]
- Physical audio digital filtersStefano Fasciani. 476-480 [doi]
- A history of the audience as a speaker arrayBenjamin Taylor. 481-486 [doi]
- Robotically augmented electric guitar for shared controlTakumi Ogata, Gil Weinberg. 487-488 [doi]
- The mutantrumpetBen Neill. 489-490 [doi]
- Locus sono: a listening game for nimeScott Smallwood. 491-492 [doi]
- Rubik's cube, music's cubeRichard Polfreman, Benjamin Oliver. 493-494 [doi]
- Microjam: an app for sharing tiny touch-screen performancesCharles P. Martin, Jim Tørresen. 495-496 [doi]
- Aeve: an audiovisual experience using vrhmd and eegRyu Nakagawa, Shotaro Hirata. 497-498 [doi]
- Arcontinuo: the instrument of changeRodrigo F. Cádiz, Alvaro Sylleros. 499-500 [doi]
- Kalimbo: an extended thumb piano and minimal control interfaceRob Blazey. 501-502 [doi]
- Stride on saturn m7 for interactive musical instrument designJoseph Tilbian, Andrés Cabrera, Steffen Martin, Lukasz Olczyk. 503-504 [doi]
- Jamsketch: a drawing-based real-time evolutionary improvisation support systemTetsuro Kitahara, Sergio I. Giraldo, Rafael Ramírez. 505-506 [doi]
- An adapted bass guitar for one-handed playingJacob Harrison, Andrew McPherson. 507-508 [doi]
- FeedboxesKrzysztof Cybulski. 509-510 [doi]
- Music everywhere - augmented reality piano improvisation learning systemSeth Glickman, Byunghwan Lee, Fu Yen Hsiao, Shantanu Das. 511-512 [doi]
- Song kernel - explorations in intuitive use of harmonyJuan Bender, Gabriel Lecup, Sergio Fernandez. 513-514 [doi]