Table of Contents

• Working methods and instrument design for cross-adaptive sessionsØyvind Brandtsegg, Trond Engum, Bernt Isak Wærstad. 1-6 [doi]
• *12*: Mobile Phone-Based Audience Participation in a Chamber Music PerformanceEran Egozy, Eun-Young Lee. 7-12 [doi]
• Animated Notation in Multiple Parts for Crowd of Non-professional PerformersAnders Lind. 13-18 [doi]
• Interacting with MusebotsAndrew R. Brown, Matthew Horrigan, Arne Eigenfeldt, Toby Gifford, Daniel Field, Jon McCormack. 19-24 [doi]
• Towards New Modes of Collective Musical Expression through Audio Augmented RealityChris Kiefer, Cecile Chevalier. 25-28 [doi]
• Aphysical Unmodeling Instrument: Sound Installation that Re-Physicalizes a Meta-Wind-Instrument Physical Model, WhirlwindTomoya Matsuura, Kazuhiro Jo. 29-30 [doi]
• An approach to stochastic spatialization - A case of Hot PocketUlf A. S. Holbrook. 31-32 [doi]
• AM MODE: Using AM and FM Synthesis for Acoustic Drum Set AugmentationCory Champion, Mo H. Zareei. 33-34 [doi]
• Kinesynth: Patching, Modulating, and Mixing a Hybrid Kinesthetic SynthesizerDon Derek Haddad, Joe Paradiso. 35-36 [doi]
• CABOTO: A Graphic-Based Interactive System for Composing and Performing Electronic MusicRiccardo Marogna. 37-42 [doi]
• The XT Synth: A New Controller for String PlayersGustavo Oliveira da Silveira. 43-44 [doi]
• Risky business: Disfluency as a design strategyS. M. Astrid Bin, Nick Bryan-Kinns, Andrew P. McPherson. 45-50 [doi]
• The Theremin Textural ExpanderRachel Gibson. 51-52 [doi]
• Siren: Interface for Pattern LanguagesMert Toka, Can Ince, Mehmet Aydin Baytas. 53-58 [doi]
• Developing a Performance Practice for Mobile Music TechnologySpencer Salazar, Andrew Piepenbrink, Sarah Reid. 59-64 [doi]
• MOM: an Extensible Platform for Rapid Prototyping and Design of Electroacoustic InstrumentsAli Momeni, Daniel McNamara, Jesse Stiles. 65-71 [doi]
• Harmonic Wand: An Instrument for Microtonal Control and Gestural ExcitationBen Luca Robertson, Luke Dahl. 72-77 [doi]
• Sansa: A Modified Sansula for Extended Compositional Techniques Using Machine LearningMcLean J Macionis, Ajay Kapur. 78-81 [doi]
• Demo of interactions between a performer playing a Smart Mandolin and audience members using Musical Haptic WearablesLuca Turchet, Mathieu Barthet. 82-83 [doi]
• Mechatronic Expression: Reconsidering Expressivity in Music for Robotic Instruments Steven Kemper, Scott Barton. 84-87 [doi]
• Interactive Tango Milonga: Designing DMIs for the Social Dance Context Courtney Brown. 88-91 [doi]
• Vocal Musical Expression with a Tactile Resonating Device and its Psychophysiological EffectsRebecca Kleinberger. 92-95 [doi]
• A Framework for Modular VST-based NIMEs Using EDA and Dependency InjectionPatrick Palsbröker, Christine Steinmeier, Dominic Becking. 96-101 [doi]
• Chunity: Integrated Audiovisual Programming in UnityJack Atherton, Ge Wang. 102-107 [doi]
• Exploring Continuous Time Recurrent Neural Networks through Novelty SearchSteffan Ianigro, Oliver Bown. 108-113 [doi]
• All the Noises: Hijacking Listening Machines for Performative ResearchJohn Bowers, Owen Green. 114-119 [doi]
• A polyphonic pitch tracking embedded system for rapid instrument augmentationRodrigo Schramm, Federico Visi, André Brasil, Marcelo O. Johann. 120-125 [doi]
• Contextualising Idiomatic Gestures in Musical Interactions with NIMEsKoray Tahiroglu, Michael Gurevich, R. Benjamin Knapp. 126-131 [doi]
• GestureRNN: A neural gesture system for the Roli Lightpad BlockLamtharn Hantrakul. 132-137 [doi]
• Myo Mapper: a Myo armband to OSC mapperBalandino Di Donato, Jamie Bullock, Atau Tanaka. 138-143 [doi]
• Real-Time Motion Capture Analysis and Music Interaction with the Modosc Descriptor LibraryFederico Visi, Luke Dahl. 144-147 [doi]
• The Phone with the Flow: Combining Touch + Optical Flow in Mobile InstrumentsCagan Arslan, Florent Berthaut, Jean Martinet, Ioan Marius Bilasco, Laurent Grisoni. 148-151 [doi]
• Multi-Touch Enhanced Visual Audio-MorphingLars Engeln, Dietrich Kammer, Leon Brandt, Rainer Groh. 152-155 [doi]
• GrainTrain: A Hand-drawn Multi-touch Interface for Granular SynthesisAnil Çamci. 156-161 [doi]
• ShIFT: A Semi-haptic Interface for Flute TutoringGus Xia, Roger B. Dannenberg. 162-167 [doi]
• NIME Identity from the Performer’s PerspectiveFabio Morreale, Andrew P. McPherson, Marcelo M. Wanderley. 168-173 [doi]
• Who Are the Women Authors in NIME?–Improving Gender Balance in NIME ResearchAnna Xambó. 174-177 [doi]
• Women Who Build Things: Gestural Controllers, Augmented Instruments, and Musical MechatronicsSarah Reid, Sara Sithi-Amnuai, Ajay Kapur. 178-183 [doi]
• Democratising DMIs: the relationship of expertise and control intimacyRobert H. Jack, Jacob Harrison, Fabio Morreale, Andrew P. McPherson. 184-189 [doi]
• The Problem of DMI Adoption and Longevity: Envisioning a NIME Performance PedagogyAdnan Marquez-Borbon, Juan Pablo Martinez-Avila. 190-195 [doi]
• Composing an Ensemble Standstill Work for Myo and BelaCharles Patrick Martin, Alexander Refsum Jensenius, Jim Tørresen. 196-197 [doi]
• The T-Stick: Maintaining a 12 year-old Digital Musical InstrumentAlex Nieva, Johnty Wang, Joseph W. Malloch, Marcelo M. Wanderley. 198-199 [doi]
• MIDI Keyboard Defined DJ Performance SystemChristopher Dewey, Jonathan P. Wakefield. 200-201 [doi]
• Democratizing Interactive Music Production over the InternetTrond Engum, Otto Jonassen Wittner. 202-203 [doi]
• Using the Axoloti Embedded Sound Processing Platform to Foster Experimentation and CreativityJean-François Charles, Carlos Cotallo Solares, Carlos Toro-Tobón, Andrew Willette. 204-205 [doi]
• Introducing a K-12 Mechatronic NIME KitKyriakos Tsoukalas, Ivica Ico Bukvic. 206-209 [doi]
• Neurythmic: A Rhythm Creation Tool Based on Central Pattern GeneratorsDaniel Bennett, Peter Bennett, Anne Roudaut. 210-215 [doi]
• Evaluating LED-based interface for Lumanote composition creation toolJames Granger, Mateo Aviles, Joshua Kirby, Austin Griffin, Johnny Yoon, Raniero Lara-Garduno, Tracy Hammond. 216-221 [doi]
• GuitarAMI and GuiaRT: two independent yet complementary projects on augmented nylon guitarsEduardo Meneses, Sérgio Freire 0001, Marcelo M. Wanderley. 222-227 [doi]
• Playsound.space: Inclusive Free Music Improvisations Using Audio CommonsAriane de Souza Stolfi, Miguel Ceriani, Luca Turchet, Mathieu Barthet. 228-233 [doi]
• CTRL: A Flexible, Precision Interface for Analog SynthesisJohn Harding, Richard Graham, Edwin Park. 234-237 [doi]
• Motivated Learning in Human-Machine ImprovisationPeter Beyls. 238-243 [doi]
• InterFACE: new faces for musical expressionDeepak Chandran, Ge Wang. 244-248 [doi]
• Hand Posture Recognition: IR, IMU and sEMGRichard Polfreman. 249-254 [doi]
• The Digital Orchestra Toolbox for MaxJoseph W. Malloch, Marlon Schumacher, Stephen Sinclair, Marcelo M. Wanderley. 255-258 [doi]
• JythonMusic: An Environment for Developing Interactive Music SystemsBill Z. Manaris, Pangur Brougham-Cook, Dana Hughes, Andrew R. Brown. 259-262 [doi]
• Triplexer: An Expression Pedal with New Degrees of FreedomSteven Leib, Anil Çamci. 263-268 [doi]
• The halldorophone: The ongoing innovation of a cello-like drone instrumentHalldór Úlfarsson. 269-274 [doi]
• L2OrkMote: Reimagining a Low-Cost Wearable Controller for a Live Gesture-Centric Music PerformanceKyriakos Tsoukalas, Joseph Kubalak, Ivica Ico Bukvic. 275-280 [doi]
• Crafting Digital Musical Instruments: An Exploratory Workshop StudyJack Armitage, Andrew P. McPherson. 281-286 [doi]
• Individual Fabrication of Cymbals using Incremental Robotic Sheet FormingAmmar Kalo, Georg Essl. 287-292 [doi]
• Haptic-Listening and the Classical GuitarJohn McDowell. 293-298 [doi]
• When is a Guitar not a Guitar? Cultural Form, Input Modality and ExpertiseJacob Harrison, Robert H. Jack, Fabio Morreale, Andrew P. McPherson. 299-304 [doi]
• A Longitudinal Field Trial with a Hemiplegic Guitarist Using The Actuated GuitarJeppe V. Larsen, Hendrik Knoche, Dan Overholt. 305-310 [doi]
• Co-Tuning Virtual-Acoustic Performance Ecosystems: observations on the development of skill and style in the study of musician-instrument relationshipsPaul Stapleton, Maarten van Walstijn, Sandor Mehes. 311-314 [doi]
• Telemetron: A Musical Instrument for Performance in Zero GravitySands A. Fish II, Nicole L'Huillier. 315-317 [doi]
• robotcowboy: 10 Years of Wearable Computer RockDan Wilcox. 318-323 [doi]
• Bela-Based Augmented Acoustic Guitars for Sonic MicrointeractionVictor Evaristo González Sánchez, Charles Patrick Martin, Agata Zelechowska, Kari Anne Vadstensvik Bjerkestrand, Victoria Johnson, Alexander Refsum Jensenius. 324-327 [doi]
• Mirroring the past, from typewriting to interactive art: an approach to the re-design of a vintage technologyGiacomo Lepri, Andrew P. McPherson. 328-333 [doi]
• Alto.Glove: New Techniques for Augmented ViolinSeth Dominicus Thorn. 334-339 [doi]
• Low Frequency Feedback Drones: A non-invasive augmentation of the double bassThanos Polymeneas Liontiris. 340-341 [doi]
• The Orchestra of Speech: a speech-based instrument systemDaniel Formo. 342-343 [doi]
• Surveying the Compositional and Performance Practices of Audiovisual PractitionersAnna Weisling, Anna Xambó, Ireti Olowe, Mathieu Barthet. 344-345 [doi]
• Sound Opinions: Creating a Virtual Tool for Sound Art Installations through Sentiment Analysis of Critical ReviewsAnthony T. Marasco. 346-347 [doi]
• A web-based 3D environment for gestural interaction with virtual music instruments as a STEAM education toolKosmas Kritsis, Aggelos Gkiokas, Carlos Árpád Acosta, Quentin Lamerand, Robert Piéchaud, Maximos A. Kaliakatsos-Papakostas, Vassilis Katsouros. 348-349 [doi]
• CubeHarmonic: A New Interface from a Magnetic 3D Motion Tracking System to Music PerformanceMaria Mannone, Eri Kitamura, Jiawei Huang, Ryo Sugawara, Yoshifumi Kitamura. 350-351 [doi]
• The Whammy Bar as a Digital Effect ControllerMartin M. Kristoffersen, Trond Engum. 352-355 [doi]
• Timbre Tuning: Variation in Cello Sprectrum Across Pitches and InstrumentsRobert Pond, Alexander Klassen, Kirk McNally. 356-359 [doi]
• Tributaries of Our Lost PalpabilityMatthew Mosher, Danielle Wood, Tony Obr. 360-361 [doi]
• Embedded Digital Shakers: Handheld Physical Modeling SynthesizersAndrew Piepenbrink. 362-363 [doi]
• Live Repurposing of Sounds: MIR Explorations with Personal and Crowdsourced DatabasesAnna Xambó, Gerard Roma, Alexander Lerch, Mathieu Barthet, György Fazekas. 364-369 [doi]
• Performance Systems for Live Coders and Non CodersAvneesh Sarwate, Ryan Taylor Rose, Jason Freeman, Jack Armitage. 370-373 [doi]
• The Feedback Trombone: Controlling Feedback in Brass InstrumentsJeff Snyder, Mike Mulshine, Rajeev Erramilli. 374-379 [doi]
• Mechanoise: Mechatronic Sound and Interaction in Embedded Acoustic InstrumentsEric Sheffield. 380-381 [doi]
• Do We Speak Sensor? Cultural Constraints of Embodied Interaction Jon Pigrem, Andrew P. McPherson. 382-385 [doi]
• Re-engaging the Body and Gesture in Musical Live CodingSpencer Salazar, Jack Armitage. 386-389 [doi]
• Widening the Razor-Thin Edge of Chaos Into a Musical Highway: Connecting Chaotic Maps to Digital WaveguidesEdgar Berdahl, Eric Sheffield, Andrew Pfalz, Anthony T. Marasco. 390-393 [doi]
• Neuron-modeled Audio Synthesis: Nonlinear Sound and ControlJeff Snyder, Aatish Bhatia, Mike Mulshine. 394-397 [doi]
• Fuzzy Logic Control Toolkit 2.0: composing and synthesis by fuzzyficationRodrigo F. Cádiz, Marie Carmen González Inostroza. 398-402 [doi]
• Guitar Machine: Robotic Fretting Augmentation for Hybrid Human-Machine Guitar PlaySang-Won Leigh, Pattie Maes. 403-408 [doi]
• Robotic Percussive AerophoneScott Barton, Karl Sundberg, Andrew Walter, Linda Sara Baker, Tanuj Sane, Alexander O'Brien. 409-412 [doi]
• Mechatronic Performance in Computer Music CompositionsNathan Villicaña-Shaw, Spencer Salazar, Ajay Kapur. 413-418 [doi]