| From Real to Virtual: A Comparison of Input Devices for Percussion Tasks | | BIB | PDF | 1-6 | |
| Mike Collicutt; Carmine Casciato; Marcelo M. Wanderley | |||
| Probabilistic Model of Pianists' Arm Touch Movements | | BIB | PDF | 7-12 | |
| Aristotelis Hadjakos; Erwin Aitenbichler; Max Mühlhäuser | |||
| A Quantitative Evaluation of the Differences between Knobs and Sliders | | BIB | PDF | 13-18 | |
| Steven Gelineck; Stefania Serafin | |||
| Evaluation of 3D Haptic Target Rendering to Support Timing in Music Tasks | | BIB | PDF | 19-24 | |
| Ricardo Pedrosa; Karon E. Maclean | |||
| Evaluating Interactive Music Systems: An HCI Approach | | BIB | PDF | 25-28 | |
| William Hsu; Marc Sosnick | |||
| The Ghetto Bastard: A Portable Noise Instrument | | BIB | PDF | 29-30 | |
| Neal Spowage | |||
| The Navi Activity Monitor: Toward Using Kinematic Data to Humanize Computer Music | | BIB | PDF | 31-32 | |
| Eric Humphrey; Colby Leider | |||
| Utilizing Tactile Feedback to Guide Movements Between Sounds | | BIB | PDF | 33-34 | |
| Alexander Müller; Georg Essl | |||
| An Interface for Live Interactive Sonification | | BIB | PDF | 35-36 | |
| Sam Ferguson; Kirsty Beilharz | |||
| Responsive Music Interfaces for Performance | | BIB | PDF | 37-38 | |
| Alexander Reben; Mat Laibowitz; Joseph A. Paradiso | |||
| Hands On Stage: A Sound and Image Performance Interface | | BIB | PDF | 39-40 | |
| Chi-Hsia Lai | |||
| The Vibrobyte: A Haptic Interface for Co-Located Performance | | BIB | PDF | 41-42 | |
| Kyle McDonald; Dane Kouttron; Curtis Bahn; Jonas Braasch; Pauline Oliveros | |||
| Multi-Laser Gestural Interface -- Solutions for Cost-Effective and Open Source Controllers | | BIB | PDF | 43-44 | |
| Meason Wiley; Ajay Kapur | |||
| Mims: Interactive Multimedia Live Performance System | | BIB | PDF | 45-47 | |
| Ryo Kanda; Mitsuyo Hashida; Haruhiro Katayose | |||
| netBody -- "Augmented Body and Virtual Body II" with the System, BodySuit, Powered Suit and Second Life -- Its Introduction of an Application of the System | | BIB | PDF | 48-49 | |
| Suguru Goto; Rob Powell | |||
| Life Game Orchestra as an Interactive Music Composition System Translating Cellular Patterns of Automata into Musical Scales | | BIB | PDF | 50-51 | |
| Keisuke Ogawa; Yasuo Kuhara | |||
| Natural Materials on Stage: Custom Controllers for Aesthetic Effect | | BIB | PDF | 52-53 | |
| John Toenjes | |||
| Controlling Live Generative Electronic Music with Deviate | | BIB | PDF | 54-55 | |
| Sarah Keith | |||
| SpiralSet: A Sound Toy Utilizing Game Engine Technologies | | BIB | PDF | 56-57 | |
| Andy Dolphin | |||
| LUMI: Live Performance Paradigms Utilizing Software Integrated Touch Screen and Pressure Sensitive Button Matrix | | BIB | PDF | 58-59 | |
| Mingfei Gao; Craig Hanson | |||
| The SARC EyesWeb Catalog: A Pattern Recognition Toolbox for Musician-Computer Interaction | | BIB | PDF | 60-61 | |
| Nicholas Gillian; Benjamin Knapp; Sile O'Modhrain | |||
| A 2D Fiducial Tracking Method based on Topological Region Adjacency and Angle Information | | BIB | PDF | 62-63 | |
| Hiroki Nishino | |||
| Anthropomorphic Musical Performance Robots at Waseda University: Increasing Understanding of the Nature of Human Musical Interaction Abstract | | BIB | PDF | 64-69 | |
| Jorge Solis; Takeshi Ninomiya; Klaus Petersen; Masaki Takeuchi; Atsuo Takanishi | |||
| The Creation of a Multi-Human, Multi-Robot Interactive Jam Session | | BIB | PDF | 70-73 | |
| Gil Weinberg; Brian Blosser; Trishul Mallikarjuna; Aparna Raman | |||
| MusicGrip: A Writing Instrument for Music Control | | BIB | PDF | 74-77 | |
| Nan-Wei Gong; Mat Laibowitz; Joseph A. Paradiso | |||
| Let Loose with WallBalls, a Collaborative Tabletop Instrument for Tomorrow | | BIB | PDF | 78-81 | |
| Grant Partridge; Pourang Irani; Gordon Fitzell | |||
| SORISU: Sound with Numbers | | BIB | PDF | 82-85 | |
| Hye Ki Min | |||
| The Tactus: a Tangible, Rhythmic Grid Interface Using Found-Objects | | BIB | PDF | 86-89 | |
| Yotam Mann; Jeff Lubow; Adrian Freed | |||
| Real-Time Phase Vocoder Manipulation by Runner's Pace | | BIB | PDF | 90-93 | |
| Jason A. Hockman; Marcelo M. Wanderley; Ichiro Fujinaga | |||
| A Discussion of Multidimensional Mapping in Nymophone2 | | BIB | PDF | 94-97 | |
| Kristian Nymoen; Alexander R. Jensenius | |||
| The Kalichord: A Physically Modeled Electro-Acoustic Plucked String Instrument | | BIB | PDF | 98-101 | |
| Daniel Schlessinger; Julius O. Smith | |||
| Augmenting Chordophones with Hybrid Percussive Sound Possibilities | | BIB | PDF | 102-105 | |
| Otso Lähdeoja | |||
| An Electroacoustically Controlled Vibrating Plate | | BIB | PDF | 106-109 | |
| Mark Kahrs; David Skulina; Stefan Bilbao; Murray Campbell | |||
| Don't Forget the Loudspeaker -- A History of Hemispherical Speakers at Princeton, Plus a DIY Guide | | BIB | PDF | 110-115 | |
| Scott Smallwood; Perry R. Cook; Dan Trueman; Lawrence McIntyre | |||
| Features and Future of Open Sound Control version 1.1 for NIME | | BIB | PDF | 116-120 | |
| Adrian Freed; Andrew Schmeder | |||
| A Low-level Embedded Service Architecture for Rapid DIY Design of Real-time Musical Instruments | | BIB | PDF | 121-124 | |
| Andrew Schmeder; Adrian Freed | |||
| Firmata: Towards Making Microcontrollers Act Like Extensions of the Computer | | BIB | PDF | 125-130 | |
| Hans-Christoph Steiner | |||
| Sharing Data in Collaborative, Interactive Performances: the SenseWorld DataNetwork | | BIB | PDF | 131-134 | |
| Marije A. Baalman; Harry C. Smoak; Christopher L. Salter; Joseph Malloch; Marcelo M. Wanderley | |||
| Challenges and Performance of High-Fidelity Audio Streaming for Interactive Performances | | BIB | PDF | 135-140 | |
| Nicolas Bouillot; Jeremy R. Cooperstock | |||
| "Extension du Corps Sonore" -- Dancing Viola | | BIB | PDF | 141-146 | |
| Todor Todoroff; Frédéric Bettens; Loïc Reboursière; Wen-Yang Chu | |||
| The elBo and footPad: Toward Personalized Hardware for Audio Manipulation | | BIB | PDF | 147-148 | |
| Colby Leider; Doug Mann; Daniel Plazas; Michael Battaglia; Reid Draper | |||
| The Midi-AirGuitar, A serious Musical Controller with a Funny Name Music Technology Program | | BIB | PDF | 149-150 | |
| Langdon Crawford; William D. Fastenow | |||
| An Early Prototype of the Augmented PsychoPhone | | BIB | PDF | 151-152 | |
| Niels Böttcher; Smilen Dimitrov | |||
| Catch Your Breath -- Musical Biofeedback for Breathing Regulation | | BIB | PDF | 153-154 | |
| Diana Siwiak; Jonathan Berger; Yao Yang | |||
| A Wii-Based Gestural Interface for Computer Conducting Systems | | BIB | PDF | 155-156 | |
| Lijuan Peng; David Gerhard | |||
| Chess-Based Composition and Improvisation for Non-Musicians | | BIB | PDF | 157-158 | |
| Dale E. Parson | |||
| MagNular: Symbolic Control of an External Sound Engine Using an Animated Interface | | BIB | PDF | 159-160 | |
| Andy Dolphin | |||
| Audio Orienteering -- Navigating an Invisible Terrain | | BIB | PDF | 161-162 | |
| Noah Feehan | |||
| Developing the Cyclotactor | | BIB | PDF | 163-164 | |
| Staas de Jong | |||
| midOSC: a Gumstix-Based MIDI-to-OSC Converter | | BIB | PDF | 165-168 | |
| Sébastien Schiesser | |||
| Parallel Processing System Design with "Propeller" Processor | | BIB | PDF | 169-170 | |
| Yoichi Nagashima | |||
| Where Did It All Go Wrong? A Model of Error From the Spectator's Perspective | | BIB | PDF | 171-172 | |
| A. Cavan Fyans; Michael Gurevich; Paul Stapleton | |||
| Advanced Techniques for Vertical Tablet Playing A Overview of Two Years of Practicing the HandSketch 1.x | | BIB | PDF | 173-174 | |
| Nicolas d'Alessandro; Thierry Dutoit | |||
| Gyroscope-Based Conducting Gesture Recognition | | BIB | PDF | 175-176 | |
| Andreas Höofer; Aristotelis Hadjakos; Max Mühlhäuser | |||
| Using Haptics to Assist Performers in Making Gestures to a Musical Instrument | | BIB | PDF | 177-182 | |
| Edgar Berdahl; Günter Niemeyer; Julius O. Smith | |||
| Using Haptic Devices to Interface Directly with Digital Waveguide-Based Musical Instruments | | BIB | PDF | 183-186 | |
| Edgar Berdahl; Günter Niemeyer; Julius O. Smith | |||
| Haptic Carillon -- Analysis & Design of the Carillon Mechanism | | BIB | PDF | 187-192 | |
| Mark Havryliv; Fazel Naghdy; Greg Schiemer; Timothy Hurd | |||
| The Electrumpet, a Hybrid Electro-Acoustic Instrument | | BIB | PDF | 193-198 | |
| Hans Leeuw | |||
| Sensor Technology and the Remaking of Instruments from the Past | | BIB | PDF | 199-202 | |
| Emmanuelle Gallin; Marc Sirguy | |||
| Twenty-First Century Piano | | BIB | PDF | 203-206 | |
| Sarah Nicolls | |||
| Designing for Conversational Interaction | | BIB | PDF | 207-212 | |
| Andrew Johnston; Linda Candy; Ernest Edmonds | |||
| Designing for Style in New Musical Interactions | | BIB | PDF | 213-217 | |
| Michael Gurevich; Paul Stapleton; Peter Bennett | |||
| Re-Designing Principles for Computer Music Controllers: a Case Study of SqueezeVox Maggie | | BIB | PDF | 218-221 | |
| Perry R. Cook | |||
| Interfacing Graphic and Musical Elements in Counterlines | | BIB | PDF | 222-225 | |
| Jaroslaw Kapuscinski; Javier Sanchez | |||
| FrameWorks 3D: Composition in the Third Dimension | | BIB | PDF | 226-229 | |
| Richard Polfreman | |||
| Novel and Forgotten Current-steering Techniques for Resistive Multitouch, Duotouch, and Polytouch Position Sensing with Pressure | | BIB | PDF | 230-235 | |
| Adrian Freed | |||
| A Force-Sensitive Surface for Intimate Control | | BIB | PDF | 236-241 | |
| Randy Jones; Peter Driessen; Andrew Schloss; George Tzanetakis | |||
| A Flexible Mapping Editor for Multi-touch Musical Instruments | | BIB | PDF | 242-245 | |
| Greg Kellum; Alain Crevoisier | |||
| Phalanger: Controlling Music Software With Hand Movement Using A Computer Vision and Machine Learning Approach | | BIB | PDF | 246-249 | |
| Chris Kiefer; Nick Collins; Geraldine Fitzpatrick | |||
| The UBS Virtual Maestro: an Interactive Conducting System | | BIB | PDF | 250-255 | |
| Teresa M. Nakra; Yuri Ivanov; Paris Smaragdis; Chris Ault | |||
| The Vocal Augmentation and Manipulation Prosthesis (VAMP): A Conducting-Based Gestural Controller for Vocal Performance | | BIB | PDF | 256-259 | |
| Elena Jessop | |||
| Double Slide Controller | | BIB | PDF | 260-261 | |
| Tomás Henriques | |||
| HSP: A Simple and Effective Open-Source Platform for Implementing Haptic Musical Instruments | | BIB | PDF | 262-263 | |
| Edgar Berdahl; Günter Niemeyer; Julius O. Smith | |||
| Versum: Audiovisual Composing in 3d | | BIB | PDF | 264-265 | |
| Tarik Barri | |||
| Towards a Humane Graphical User Interface for Live Electronic Music | | BIB | PDF | 266-267 | |
| Jamie Bullock; Lamberto Coccioli | |||
| YARMI: an Augmented Reality Musical Instrument | | BIB | PDF | 268-269 | |
| Tomas Laurenzo; Ernesto Rodríguez; Juan Fabrizio Castro | |||
| SpeedDial: Rapid and On-The-Fly Mapping of Mobile Phone Instruments | | BIB | PDF | 270-273 | |
| Georg Essl | |||
| ForTouch: A Wearable Digital Ventriloquized Actor | | BIB | PDF | 274-275 | |
| Sidney S. Fels; Bob Pritchard; Allison Lenters | |||
| Words, Movement and Timbre | | BIB | PDF | 276-279 | |
| Alex Mclean; Geraint Wiggins | |||
| A Meta-Instrument for Interactive, On-the-Fly Machine Learning | | BIB | PDF | 280-285 | |
| Rebecca Fiebrink; Dan Trueman; Perry R. Cook | |||
| Action and Perception in Interactive Sound Installations: An Ecological Approach | | BIB | PDF | 286-289 | |
| Jan C. Schacher | |||
| The Argus Project: Underwater Soundscape Composition with Laser-Controlled Modulation | | BIB | PDF | 290-292 | |
| Jonathon Kirk; Lee Weisert | |||
| PlaySoundGround: An Interactive Musical Playground | | BIB | PDF | 293-296 | |
| Michael St. Clair; Sasha Leitman | |||
| The Fragmented Orchestra | | BIB | PDF | 297-302 | |
| Daniel Jones; Tim Hodgson; Jane Grant; John Matthias; Nicholas Outram; Nick Ryan | |||
| Designing Smule's Ocarina: The iPhone's Magic Flute | | BIB | PDF | 303-307 | |
| Ge Wang | |||
| Scratch-Off: A Gesture Based Mobile Music Game with Tactile Feedback | | BIB | PDF | 308-311 | |
| Nicholas Gillian; Sile O'Modhrain; Georg Essl | |||
| ZooZBeat: a Gesture-based Mobile Music Studio | | BIB | PDF | 312-315 | |
| Gil Weinberg; Andrew Beck; Mark Godfrey | |||
| The Drummer: a Collaborative Musical Interface with Mobility | | BIB | PDF | 316-319 | |
| Andrea Bianchi; Woon Seung Yeo | |||
| The Oklo Phenomenon | | BIB | PDF | 320 | |
| Robert Wechsler | |||
| Anigraphical Etude 9 | | BIB | PDF | 321 | |
| David Lieberman | |||
| Cosmic Strings II | | BIB | PDF | 322 | |
| Min Eui Hong | |||
| Study no. 1 for PAM and MADI | | BIB | PDF | 323 | |
| Troy Rogers; Steven Kemper; Scott Barton | |||
| Fue Sho -- Electrofusion | | BIB | PDF | 324 | |
| Garth Paine; Michael Atherton | |||
| Versum -- Fluor | | BIB | PDF | 325 | |
| Tarik Barri | |||
| Angry Sparrow | | BIB | PDF | 326 | |
| Chikashi Miyama | |||
| Biomuse Trio | | BIB | PDF | 327 | |
| Eric Lyon; Benjamin Knapp; Gascia Ouzounian | |||
| BodyJack | | BIB | PDF | 328 | |
| Suguru Goto | |||
| Code LiveCode Live, or livecode Embodied | | BIB | PDF | 329 | |
| Marije A. Baalman | |||
| MOLITVA -- Composition for Voice, Live Electronics, Pointing-At Glove Device and 3-D Setup of Speakers | | BIB | PDF | 330 | |
| Giuseppe Torre; Robert Sazdov; Dorota Konczewska | |||
| Ben Neill and LEMUR | | BIB | PDF | 331 | |
| Ben Neill; Eric Singer | |||
| Performance: Modal Kombat Plays PONG | | BIB | PDF | 332 | |
| David Hindman; Evan Drummond | |||
| Afflux/Reflux | | BIB | PDF | 333 | |
| Colby Leider | |||
| PLOrk Beat Science 2.0 | | BIB | PDF | 334 | |
| Ge Wang; Rebecca Fiebrink | |||
| Hands On -- A New Work from SLABS Controller and Generative Algorithms | | BIB | PDF | 335 | |
| David Wessel | |||
| Bioluminescence | | BIB | PDF | 336 | |
| R. Luke Dubois; Lesley Flanigan | |||
| Elemental & Cyrene Reefs | | BIB | PDF | 337 | |
| Ivika Bukvic; Eric Standley | |||
| Cellphonia: 4'33" | | BIB | PDF | 338 | |
| Scot Gresham-Lancaster; Steve Bull | |||
| Pendaphonics | | BIB | PDF | 339 | |
| Dan Overholt; Byron Lahey; Anne-Marie Skriver Hansen; Winslow Burleson; Camilla Norrgaard Jensen | |||
| Sound Lanterns | | BIB | PDF | 340 | |
| Scott Smallwood | |||
| AANN: Artificial Analog Neural Network | | BIB | PDF | 341 | |
| Phillip Stearns | |||