| Controlling a Physical Model with a 2D Force Matrix | | BIB | PDF | 27-30 | |
| Randy Jones; Andrew Schloss | |||
| PHYSMISM: A Control Interface for Creative Exploration of Physical Models | | BIB | PDF | 31-36 | |
| Niels Bottcher; Steven Gelineck; Stefania Serafin | |||
| Physical Models and Musical Controllers -- Designing a Novel Electronic Percussion Instrument | | BIB | PDF | 37-40 | |
| Katarzyna Chuchacz; Sile O'Modhrain; Roger Woods | |||
| A Force Sensitive Multi-Touch Array Supporting Multiple 2-D Musical Control Structures | | BIB | PDF | 41-45 | |
| David Wessel; Rimas Avizienis; Adrian Freed; Matthew Wright | |||
| Zstretch: A Stretchy Fabric Music Controller | | BIB | PDF | 46-49 | |
| Angela Chang; Hiroshi Ishii | |||
| Oculog: Playing with Eye Movements | | BIB | PDF | 50-55 | |
| Juno Kim; Greg Schiemer; Terumi Narushima | |||
| Active Listening to a Virtual Orchestra Through an Expressive Gestural Interface: The Orchestra Explorer | | BIB | PDF | 56-61 | |
| Antonio Camurri; Corrado Canepa; Gualtiero Volpe | |||
| The Multimodal Music Stand | | BIB | PDF | 62-65 | |
| Bo Bell; Jim Kleban; Dan Overholt; Lance Putnam; John Thompson; JoAnn Morin-Kuchera | |||
| The T-Stick: From Musical Interface to Musical Instrument | | BIB | PDF | 66-69 | |
| Joseph Malloch; Marcelo M. Wanderley | |||
| The Thummer Mapping Project (ThuMP) | | BIB | PDF | 70-77 | |
| Garth Paine; Ian Stevenson; Angela Pearce | |||
| HandSketch Bi-Manual Controller Investigation on Expressive Control Issues of an Augmented Tablet | | BIB | PDF | 78-81 | |
| Nicolas d'Alessandro; Thierry Dutoit | |||
| Mobile Clavier: New Music Keyboard for Flexible Key Transpose | | BIB | PDF | 82-87 | |
| Yoshinari Takegawa; Tsutomu Terada | |||
| Design Principles and User Interfaces of Erkki Kurenniemi's Electronic Musical Instruments of the 1960's and 1970's | | BIB | PDF | 88-93 | |
| Mikko Ojanen; Jari Suominen; Titti Kallio; Kai Lassfolk | |||
| The Acoustic, the Digital and the Body: A Survey on Musical Instruments | | BIB | PDF | 94-99 | |
| Thor Magnusson; Enrike H. Mendieta | |||
| Ten Years of Tablet Musical Interfaces at CNMAT | | BIB | PDF | 100-105 | |
| Michael Zbyszynski; Matthew Wright; Ali Momeni; Daniel Cullen | |||
| Expression and Its Discontents: Toward an Ecology of Musical Creation | | BIB | PDF | 106-111 | |
| Michael Gurevich; Jeffrey Treviño | |||
| Live Coding Practice | | BIB | PDF | 112-117 | |
| Click Nilson | |||
| Natural Interfaces for Musical Expression: Physiphones and a Physics-Based Organology | | BIB | PDF | 118-123 | |
| Steve Mann | |||
| Wireless Sensor Interface and Gesture-Follower for Music Pedagogy | | BIB | PDF | 124-129 | |
| Frédéric Bevilacqua; Fabrice Guédy; Norbert Schnell; Emmanuel Fléty; Nicolas Leroy | |||
| New Interfaces for Popular Music Performance | | BIB | PDF | 130-135 | |
| Roger B. Dannenberg | |||
| Towards Rhythmic Analysis of Human Motion Using Acceleration-Onset Times | | BIB | PDF | 136-141 | |
| Eric Lee; Urs Enke; Jan Borchers; Leo de Jong | |||
| nJam User Experiments: Enabling Remote Musical Interaction from Milliseconds to Seconds | | BIB | PDF | 142-147 | |
| Nicolas Bouillot | |||
| Ashitaka: An Audiovisual Instrument | | BIB | PDF | 148-153 | |
| Niall Moody; Nick Fells; Nicholas Bailey | |||
| Percussion Instruments Using Realtime Convolution: Physical Controllers | | BIB | PDF | 154-159 | |
| Roberto Aimi | |||
| CaMus 2 -- Optical Flow and Collaboration in Camera Phone Music Performance | | BIB | PDF | 160-163 | |
| Michael Rohs; Georg Essl | |||
| Don't Forget the Laptop: Using Native Input Capabilities for Expressive Musical Control | | BIB | PDF | 164-167 | |
| Rebecca Fiebrink; Ge Wang; Perry R. Cook | |||
| MIDI Scrapyard Challenge Workshops | | BIB | PDF | 168-171 | |
| Katherine Moriwaki; Jonah Brucken-Cohen | |||
| REXband: A Multi-User Interactive Exhibit for Exploring Medieval Music | | BIB | PDF | 172-177 | |
| Eric Lee; Marius Wolf; Yvonne Jansen; Jan Borchers | |||
| Schwelle: Sensor Augmented, Adaptive Sound Design for Live Theatrical Performance | | BIB | PDF | 178-184 | |
| Marije A. Baalman; Daniel Moody-Grigsby; Christopher L. Salter | |||
| ParticleTecture: Interactive Granular Soundspaces for Architectural Design | | BIB | PDF | 185-190 | |
| Joanne Jakovich; Kirsty Beilharz | |||
| New Musical Interfaces in Context: Sonic Interaction Design in the Urban Setting | | BIB | PDF | 191-196 | |
| Karmen Franinovic; Yon Visell | |||
| Musicianship for Robots with Style | | BIB | PDF | 197-202 | |
| Marcelo Gimenes; Eduardo Miranda; Chris Johnson | |||
| Extended Applications of the Wireless Sensor Array (WISEAR) | | BIB | PDF | 203-204 | |
| David Topper | |||
| Celeritas: Wearable Wireless System | | BIB | PDF | 205-208 | |
| Giuseppe Torre; Mikael Fernström; Brendan O'Flynn; Philip Angove | |||
| Defining a Control Standard for Easily Integrating Haptic Virtual Environments with Existing Audio / Visual Systems | | BIB | PDF | 209-212 | |
| Stephen Sinclair; Marcelo M. Wanderley | |||
| Chroma Palette: Chromatic Maps of Sound As Granular Synthesis Interface | | BIB | PDF | 213-219 | |
| Justin Donaldson; Ian Knopke; Chris Raphael | |||
| Matching Parts: Inner Voice Led Control for Symbolic and Audio Accompaniment | | BIB | PDF | 220-223 | |
| Nick Collins | |||
| Rage in Conjunction with the Machine | | BIB | PDF | 224-227 | |
| Mark Cartwright; Matt Jones; Hiroko Terasawa | |||
| The Design of a Robotic Marimba Player -- Introducing Pitch into Robotic Musicianship | | BIB | PDF | 228-233 | |
| Gil Weinberg; Scott Driscoll | |||
| B-Keeper: A Beat-Tracker for Live Performance | | BIB | PDF | 234-237 | |
| Andrew Robertson; Mark D. Plumbley | |||
| Integrating HyperInstruments, Musical Robots & Machine Musicianship for North Indian Classical Music | | BIB | PDF | 238-241 | |
| Ajay Kapur; Eric Singer; Manjinder S. Benning; George Tzanetakis; Trimpin Trimpin | |||
| The Wrist-Conductor | | BIB | PDF | 242-245 | |
| Arthur Clay; Dennis Majoe | |||
| fMRI-Compatible Electronic Controllers | | BIB | PDF | 246-249 | |
| Avrum Hollinger; Christopher Steele; Virginia Penhune; Robert Zatorre; Marcelo M. Wanderley | |||
| GHI project and "Cyber Kendang" | | BIB | PDF | 250-253 | |
| Yoichi Nagashima | |||
| Sensillum: An Improvisational Approach to Composition | | BIB | PDF | 254-255 | |
| Shinichiro Toyoda | |||
| The Samchillian Tip Tip Tip Cheeepeeeee: A Relativistic Keyboard Instrument | | BIB | PDF | 256-259 | |
| Leon Gruenbaum | |||
| Graph Theory: Interfacing Audiences Into the Compositional Process | | BIB | PDF | 260-263 | |
| Jason Freeman | |||
| The ColorDex DJ System: A New Interface for Live Music Mixing | | BIB | PDF | 264-269 | |
| Nicolas Villar; Hans Gellersen; Matt Jervis; Alexander Lang | |||
| The WaveSaw: A Flexible Instrument for Direct Timbral Manipulation | | BIB | PDF | 270-272 | |
| Luke Dahl; Nathan Whetsell; John Van Stoecker | |||
| DAMPER: A Platform for Effortful Interface Development | | BIB | PDF | 273-276 | |
| Peter Bennett; Nicholas Ward; Sile O'Modhrain; Pedro Rebelo | |||
| Visual Feedback in Performer-Machine Interaction for Musical Improvisation | | BIB | PDF | 277-280 | |
| Alexandre R. François; Elaine Chew; Dennis Thurmond | |||
| >hot_strings SIG< | | BIB | PDF | 281-284 | |
| Cornelius Poepel; Günter Marx | |||
| Tactophonics: Your Favourite Thing Wants to Sing | | BIB | PDF | 285-288 | |
| Andrew A. Cook; Graham Pullin | |||
| Díamair: Composing for Choir and Integral Music Controller | | BIB | PDF | 289-292 | |
| Miguel A. Pérez; Benjamin Knapp; Michael Alcorn | |||
| Interactive Spatialization and Sound Design using an Evolutionary System | | BIB | PDF | 293-298 | |
| Jose Fornari; Adolfo, Jr. Maia; Jonatas Manzolli | |||
| EyeMusic: Performing Live Music and Multimedia Compositions with Eye Movements | | BIB | PDF | 299-300 | |
| Anthony J. Hornof; Troy Rogers; Tim Halverson | |||
| The FrankenPipe: A Novel Bagpipe Controller | | BIB | PDF | 301-304 | |
| Turner Kirk; Colby Leider | |||
| Developing Multimodal Interactive Systems with EyesWeb XMI | | BIB | PDF | 305-308 | |
| Antonio Camurri; Paolo Coletta; Giovanna Varni; Simone Ghisio | |||
| Real-Time Feature-Based Synthesis for Live Musical Performance | | BIB | PDF | 309-312 | |
| Matt Hoffman; Perry R. Cook | |||
| jPop-E: An Assistant System for Performance Rendering of Ensemble Music | | BIB | PDF | 313-316 | |
| Mitsuyo Hashida; Noriko Nagata; Haruhiro Katayose | |||
| Recognition and Prediction in a Network Music Performance System for Indian Percussion | | BIB | PDF | 317-320 | |
| Mihir Sarkar; Barry Vercoe | |||
| JamiOki-PureJoy: A Game Engine and Instrument for Electronically-Mediated Musical Improvisation | | BIB | PDF | 321-326 | |
| Benjamin Vigoda; David Merrill | |||
| A Look at the Design and Creation of a Graphically Controlled Digital Musical Instrument | | BIB | PDF | 327-329 | |
| Daniel Gómez; Tjebbe Donner; Andrés Posada | |||
| The MIDI Pick: Trigger Serial Data, Samples, and MIDI from a Guitar Pick | | BIB | PDF | 330-333 | |
| Roy Vanegas | |||
| Improved Position Tracking of a 3-D Gesture-Based Musical Controller Using a Kalman Filter | | BIB | PDF | 334-337 | |
| Manjinder S. Benning; Michael McGuire; Peter Driessen | |||
| The Lambent Reactive: An Audiovisual Environment for Kinesthetic Playforms | | BIB | PDF | 338-343 | |
| Noah H. Keating | |||
| Real-Time Beat-Synchronous Audio Effects | | BIB | PDF | 344-345 | |
| Adam M. Stark; Mark D. Plumbley; Matthew E. Davies | |||
| Automatic Notation Generators | | BIB | PDF | 346-351 | |
| Harris Wulfson; G. Douglas Barrett; Michael Winter | |||
| Bowstroke Database: A Web-Accessible Archive of Violin Bowing Data | | BIB | PDF | 352-357 | |
| Diana Young; Anagha Deshmane | |||
| Gesture Control of Sounds in 3D Space | | BIB | PDF | 358-362 | |
| Jan C. Schacher | |||
| Adaptive Tuning Using Theremin as Gestural Controller | | BIB | PDF | 363-366 | |
| Alexandre T. Porres; Jonatas Manzolli | |||
| Design Issues in Interaction Modeling for Free Improvisation | | BIB | PDF | 367-370 | |
| William Hsu | |||
| VR-RoBoser: Real-Time Adaptive Sonification of Virtual Environments Based on Avatar Behavior | | BIB | PDF | 371-374 | |
| Sylvain Le Groux; Jonatas Manzolli; Paul F. Verschure | |||
| A Unified Toolkit for Accessing Human Interface Devices in Pure Data and Max / MSP | | BIB | PDF | 375-378 | |
| Hans-Christoph Steiner | |||
| Control Strategies for Navigation of Complex Sonic Spaces Transformation of Resonant Models | | BIB | PDF | 379-383 | |
| Doug Van Nort; Marcelo M. Wanderley | |||
| Articulated Paint: Musical Expression for Non-Musicians | | BIB | PDF | 384-385 | |
| André Knörig; Boris Müller; Reto Wettach | |||
| Freqtric Drums: A Musical Instrument that Uses Skin Contact as an Interface | | BIB | PDF | 386-387 | |
| Tetsuaki Baba; Taketoshi Ushiama; Kiyoshi Tomimatsu | |||
| Project Scriabin v.3 | | BIB | PDF | 388-389 | |
| Chang Min Han | |||
| Expressive Control of Music and Visual Media by Full-Body Movement | | BIB | PDF | 390-391 | |
| Ginevra Castellano; Roberto Bresin; Antonio Camurri; Gualtiero Volpe | |||
| A Hybrid Method for Extended Percussive Gesture | | BIB | PDF | 392-393 | |
| Adam R. Tindale | |||
| Use of a Dual-Core DSP in a Low-Cost, Touch-Screen Based Musical Instrument | | BIB | PDF | 394-395 | |
| Paolo Bottoni; Riccardo Caporali; Daniele Capuano; Stefano Faralli; Anna Labella; Mario Pierro | |||
| Mountain Guitar: a Musical Instrument for Everyone | | BIB | PDF | 396-397 | |
| Junichi Kanebako; James Gibson; Laurent Mignonneau | |||
| Development of new visual musical Instrument "Phenakistoscope player" | | BIB | PDF | 398-400 | |
| Saburo HIRANO; Hitoshi AKAYAMA; Shinta INOUE | |||
| Eobody2: A Follow-up to Eobody's Technology | | BIB | PDF | 401-402 | |
| Marc Sirguy; Emmanuelle Gallin | |||
| Wireless Inertial Sensor Package (WISP) | | BIB | PDF | 403-404 | |
| Bernie C. Till; Manjinder S. Benning; Nigel Livingston | |||
| "Acoustic Map" -- An Interactive Cityportrait | | BIB | PDF | 405-406 | |
| Stefan Loewenstein | |||
| A System for Improvisational Musical Expression Based on Player's Sense of Tempo | | BIB | PDF | 407-408 | |
| Tomoko Hashida; Takeshi Naemura; Takao Sato | |||
| Circle Canon Chorus System Used To Enjoy A Musical Ensemble Singing "Frog Round" | | BIB | PDF | 409-410 | |
| Misako Nakamoto; Yasuo Kuhara | |||
| Loop-R: Real-Time Video Interface | | BIB | PDF | 411-414 | |
| Rui Pereira | |||
| The Music Cre8tor: an Interactive System for Musical Exploration and Education | | BIB | PDF | 415-416 | |
| Jane Rigler; Zachary Seldess | |||
| Establishing a Musical Channel of Communication between Dancers and Musicians in Computer-Mediated Collaborations in Dance Performance | | BIB | PDF | 417-419 | |
| Carlos Guedes | |||
| Cellphonia: WET | | BIB | PDF | 420 | |
| Steve Bull; Scot Gresham-Lancaster; Kalin Mintchev; Terese Svoboda | |||
| Miller | | BIB | PDF | 421 | |
| Instant City, a Music Building Game Table | | BIB | PDF | 422 | |
| Sibylle Hauert; Daniel Reichmuth; Volker Böhm | |||
| NIME Performance & Installation: Sonic Pong V3.0 | | BIB | PDF | 423 | |
| Andrew Milmoe | |||
| The Tipping Point | | BIB | PDF | 424 | |
| Betsey Biggs | |||
| Musique Concrete: Transforming Space, Sound and the City Through Skateboarding | | BIB | PDF | 425 | |
| Simon Morris | |||
| Bd: A Sound Installation with Swarming Robots | | BIB | PDF | 426 | |
| Yuta Uozumi; Masato Takahashi; Ryoho Kobayashi | |||
| Sensity | | BIB | PDF | 427 | |
| Thresholds | | BIB | PDF | 428 | |
| Adriana Sa | |||
| bog: Instrumental Aliens | | BIB | PDF | 429 | |
| Masato Takahashi; Hiroya Tanaka | |||
| Fijuu2: A Game-Based Audio-Visual Performance and Composition Engine | | BIB | PDF | 430 | |
| Julian Oliver; Steven Pickles | |||
| nite_aura: An Audio-Visual Interactive Immersive Installation | | BIB | PDF | 431 | |
| Jinsil Seo; Greg Corness | |||
| Soundanism | | BIB | PDF | 432 | |
| Miguel Álvarez-Fernández; Stefan Kersten; Asia Piascik | |||
| Human Sequencer | | BIB | PDF | 433 | |
| Alexandre Quessy | |||