| Evolving Tooka: from Experiment to Instrument | | BIB | PDF | 1-6 | |
| Sidney Fels; Linda Kaastra; Sachiyo Takahashi; Graeme McCaig | |||
| The Electronic Sitar Controller | | BIB | PDF | 7-12 | |
| Ajay Kapur; Ari J. Lazier; Philip Davidson; R. Scott Wilson; Perry R. Cook | |||
| Sound Feedback for Powerful Karate Training | | BIB | PDF | 13-18 | |
| Masami Takahata; Kensuke Shiraki; Yutaka Sakane; Yoichi Takebayashi | |||
| Dynamic Patching for Live Musical Performance | | BIB | PDF | 19-22 | |
| Martin Kaltenbrunner; Gunter Geiger; Sergi Jordà | |||
| Aobachi: A New Interface for Japanese Drumming | | BIB | PDF | 23-26 | |
| Diana Young; Ichiro Fujinaga | |||
| Daisyphone: Support for Remote Music Collaboration | | BIB | PDF | 27-30 | |
| Nick Bryan-Kinns; Patrick G. T. Healey | |||
| Modeling an air percussion for composition and performance | | BIB | PDF | 31-34 | |
| Christophe Havel; Myriam Desainte-Catherine | |||
| A Survey of Real-Time MIDI Performance | | BIB | PDF | 35-38 | |
| Mark J. Nelson; Belinda Thom | |||
| Real-time Gesture Mapping in Pd Environment using Neural Networks | | BIB | PDF | 39-42 | |
| Arshia Cont; Thierry Coduys; Cyrille Henry | |||
| The Decentralized Pianola: Evolving Mechanical Music Instruments Using a Genetic Algorithm | | BIB | PDF | 43-46 | |
| Assaf K. Talmudi | |||
| Don't Just Play it, Grow it! Breeding Sound Synthesis and Performance Mappings | | BIB | PDF | 47-50 | |
| James Mandelis; Phil Husbands | |||
| Tree Music: Composing with GAIA | | BIB | PDF | 51-54 | |
| Judith Shatin; David Topper | |||
| Recycling Music, Answering Back: Toward an Oral Tradition of Electronic Music | | BIB | PDF | 55-58 | |
| Gideon D'Arcangelo | |||
| Digital Instruments and Players: Part I -- Efficiency and Apprenticeship | | BIB | PDF | 59-63 | |
| Sergi Jordà | |||
| A New Mix of Forgotten Technology: Sound Generation, Sequencing and Performance Using an Optical Turntable | | BIB | PDF | 64-67 | |
| Nikita Pashenkov | |||
| You're The Conductor: A Realistic Interactive Conducting System for Children | | BIB | PDF | 68-73 | |
| Eric Lee; Teresa Marrin Nakra; Jan Borchers | |||
| PebbleBox and CrumbleBag: Tactile Interfaces for Granular Synthesis | | BIB | PDF | 74-79 | |
| M. Sile O'Modhrain; Georg Essl | |||
| Gesture and Musical Interaction: Interactive Engagement Through Dynamic Morphology | | BIB | PDF | 80-86 | |
| Garth Paine | |||
| On the Choice of Mappings Based On Geometric Properties | | BIB | PDF | 87-91 | |
| Doug Van Nort; Marcelo M. Wanderley; Philippe Depalle | |||
| The Squiggle: A Digital Musical Instrument | | BIB | PDF | 92-95 | |
| Brian Sheehan | |||
| Exploration of the correspondence between visual and acoustic parameter spaces | | BIB | PDF | 96-99 | |
| David Gerhard; Daryl H. Hepting; Matthew McKague | |||
| The Architecture of Auracle: a Real-Time, Distributed, Collaborative Instrument | | BIB | PDF | 100-103 | |
| Chandrasekhar Ramakrishnan; Jason Freeman; Kristjan Varnik; David Birchfield; Phil Burk; Max Neuhaus | |||
| Thermoscore: A New-type Musical Score with Temperature Sensation | | BIB | PDF | 104-107 | |
| Homei Miyashita; Kazushi Nishimoto | |||
| Toward a generalized friction controller: from the bowed string to unusual musical instruments | | BIB | PDF | 108-111 | |
| Stefania Serafin; Diana Young | |||
| ThumbTec: A New Handheld Input Device | | BIB | PDF | 112-115 | |
| Philippe Stanislas Zaborowski | |||
| Techniques for Multi-Channel Real-Time Spatial Distribution Using Frequency-Domain Processing | | BIB | PDF | 116-119 | |
| Ryan H. Torchia; Cort Lippe | |||
| Rencon 2004: Turing Test for Musical Expression | | BIB | PDF | 120-123 | |
| Rumi Hiraga; Roberto Bresin; Keiji Hirata; Haruhiro Katayose | |||
| Using an Expressive Performance Template in a Music Conducting Interface | | BIB | PDF | 124-129 | |
| Haruhiro Katayose; Keita Okudaira | |||
| Acappella synthesis demonstrations using RWC music database | | BIB | PDF | 130-131 | |
| Hideki Kawahara; Hideki Banno; Masanori Morise | |||
| Aura II: Making Real-Time Systems Safe for Music | | BIB | PDF | 132-137 | |
| Roger B. Dannenberg | |||
| "On-the-fly Programming: Using Code as an Expressive Musical Instrument" | | BIB | PDF | 138-143 | |
| Ge Wang; Perry R. Cook | |||
| Live Cinema: Designing an Instrument for Cinema Editing as a Live Performance | | BIB | PDF | 144-149 | |
| Michael Lew | |||
| Synthesized Strings for String Players | | BIB | PDF | 150-153 | |
| Cornelius Poepel | |||
| Mobile Music Making | | BIB | PDF | 154-156 | |
| Atau Tanaka | |||
| Versatile sensor acquisition system utilizing Network Technology | | BIB | PDF | 157-160 | |
| Emmanuel Fléty | |||
| In Duet with Everyday Urban Settings: A User Study of Sonic City | | BIB | PDF | 161-164 | |
| Lalya Gaye; Lars Erik Holmquist | |||
| Issues for Designing a flexible expressive audiovisual system for real-time performance & composition | | BIB | PDF | 165-168 | |
| Enrique Franco; Niall J. L. Griffith; Mikael Fernström | |||
| A Novel Face-tracking Mouth Controller and its Application to Interacting with Bioacoustic Models | | BIB | PDF | 169-172 | |
| Gamhewage C. de Silva; Tamara Smyth; Michael J. Lyons | |||
| Measurement of Latency in Interactive Multimedia Art | | BIB | PDF | 173-176 | |
| Yoichi Nagashima | |||
| ism: Improvisation Supporting System based on Melody Correction | | BIB | PDF | 177-180 | |
| Katsuhisa Ishida; Tetsuro Kitahara; Masayuki Takeda | |||
| LEMUR's Musical Robots | | BIB | PDF | 181-184 | |
| Eric Singer; Jeff Feddersen; Chad Redmon; Bil Bowen | |||
| EyeMusic: Making Music with the Eyes | | BIB | PDF | 185-188 | |
| Anthony J. Hornof; Linda Sato | |||
| The Slidepipe: A Timeline-Based Controller for Real-Time Sample Manipulation | | BIB | PDF | 189-192 | |
| Mark Argo | |||
| A Theory of Modulated Objects for New Shamanic Controller Design | | BIB | PDF | 193-196 | |
| Matthew Burtner | |||
| A Shape-Based Approach to Computer Vision Musical Performance Systems | | BIB | PDF | 197-198 | |
| Jean-Marc Pelletier | |||
| Epipe: A Novel Electronic Woodwind Controller | | BIB | PDF | 199-200 | |
| Stephen Hughes; Cormac Cannon; M. Sile O'Modhrain | |||
| SillyTone Squish Factory | | BIB | PDF | 201-202 | |
| Geoffrey C. Morris; Sasha Leitman; Marina Kassianidou | |||
| StickMusic: Using haptic feedback with a phase vocoder | | BIB | PDF | 203-204 | |
| Hans-Christoph Steiner | |||
| TOASTER and KROONDE: High-Resolution and High-Speed Real-time Sensor Interfaces | | BIB | PDF | 205-206 | |
| Thierry Coduys; Cyrille Henry; Arshia Cont | |||
| The Case Study of Application of Advanced Gesture Interface and Mapping Interface, -- Virtual Musical Instrument "Le SuperPolm" and Gesture Controller "BodySuit" | | BIB | PDF | 207-208 | |
| Suguru Goto; Takahiko Suzuki | |||
| Light Pipes: A Light Controlled MIDI Instrument | | BIB | PDF | 209-210 | |
| Sook Young Won; Humane Chan; Jeremy Liu | |||
| Realtime Sample System for the Turntablist version 2: 16padjoystickcontroller | | BIB | PDF | 211-212 | |
| Takuro Mizuta Lippit | |||
| The Stranglophone: Enhancing Expressiveness in Live Electronic Music | | BIB | PDF | 213-214 | |
| Michael Eyal Sharon | |||
| Ensemble system with i-trace | | BIB | PDF | 215-216 | |
| Tomoko Hashida; Yasuaki Kakehi; Takeshi Naemura | |||