| A Shift Towards Iterative and Open-Source Design for Musical Interfaces | | BIB | PDF | 1-6 | |
| Owen Vallis; Jordan Hochenbaum; Ajay Kapur | |||
| UnitInstrument: Easy Configurable Musical Instruments | | BIB | PDF | 7-12 | |
| Yutaro Maruyama; Yoshinari Takegawa; Tsutomu Terada; Masahiko Tsukamoto | |||
| The Loudspeaker as Musical Instrument | | BIB | PDF | 13-18 | |
| Jos Mulder | |||
| An Ultrasound Based Instrument Generating Audible and Tactile Sound | | BIB | PDF | 19-22 | |
| Miha Ciglar | |||
| Neurohedron: A Nonlinear Sequencer Interface | | BIB | PDF | 23-25 | |
| Ted Hayes | |||
| Designing Custom-made Metallophone with Concurrent Eigenanalysis | | BIB | PDF | 26-30 | |
| Nobuyuki Umetani; Jun Mitani; Takeo Igarashi | |||
| Freepad: A Custom Paper-based MIDI Interface | | BIB | PDF | 31-36 | |
| Sungkuk Chun; Andrew Hawryshkewich; Keechul Jung; Philippe Pasquier | |||
| Music Programming in Minim | | BIB | PDF | 37-42 | |
| John A. Mills; Damien Di Fede; Nicolas Brix | |||
| An Epistemic Dimension Space for Musical Devices | | BIB | PDF | 43-46 | |
| Thor Magnusson | |||
| Investigating the Potential for Shared Agency using Enactive Interfaces | | BIB | PDF | 47-50 | |
| A. Baki Kocaballi; Petra Gemeinboeck; Rob Saunders | |||
| Cuebert: A New Mixing Board Concept for Musical Theatre | | BIB | PDF | 51-56 | |
| Noah Liebman; Michael Nagara; Jacek Spiewla; Erin Zolkosky | |||
| Dynamic Interactivity Inside the AlloSphere | | BIB | PDF | 57-62 | |
| Charles Roberts; Matthew Wright; JoAnn Kuchera-Morin; Lance Putnam | |||
| Creating Meaningful Melodies from Text Messages | | BIB | PDF | 63-68 | |
| Florian Alt; Alireza S. Shirazi; Stefan Legien; Albrecht Schmidt; Julian Mennenöh | |||
| Epi-thet: A Musical Performance Installation and a Choreography of Stillness | | BIB | PDF | 69-71 | |
| Tim Humphrey; Madeleine Flynn; Jesse Stevens | |||
| From Mozart to MIDI: A Rule System for Expressive Articulation | | BIB | PDF | 72-75 | |
| Tilo Hähnel | |||
| Designing Mobile Musical Instruments and Environments with urMus | | BIB | PDF | 76-81 | |
| Georg Essl; Alexander Müller | |||
| Evolving The Mobile Phone Orchestra | | BIB | PDF | 82-87 | |
| Jieun Oh; Jorge Herrera; Nicholas J. Bryan; Luke Dahl; Ge Wang | |||
| Mapping Out Instruments, Affordances, and Mobiles | | BIB | PDF | 88-93 | |
| Atau Tanaka | |||
| Composing For Improvisation with Chaotic Oscillators | | BIB | PDF | 94-99 | |
| Mark Havryliv | |||
| Beatback: A Real-time Interactive Percussion System for Rhythmic Practise and Exploration | | BIB | PDF | 100-105 | |
| Andrew Hawryshkewich; Philippe Pasquier; Arne Eigenfeldt | |||
| Style and Constraint in Electronic Musical Instruments | | BIB | PDF | 106-111 | |
| Michael Gurevich; Paul Stapleton; Adnan Marquez-Borbon | |||
| LUSH: An Organic Eco + Music System | | BIB | PDF | 112-115 | |
| Hongchan Choi; Ge Wang | |||
| TwinkleBall: A Wireless Musical Interface for Embodied Sound Media | | BIB | PDF | 116-119 | |
| Tomoyuki Yamaguchi; Tsukasa Kobayashi; Anna Ariga; Shuji Hashimoto | |||
| Expression and Spatial Motion: Playable Ambisonics | | BIB | PDF | 120-124 | |
| Joanne Cannon; Stuart Favilla | |||
| Contrary Motion: An Oppositional Interactive Music System | | BIB | PDF | 125-129 | |
| Nick Collins | |||
| Images as Spatial Sound Maps | | BIB | PDF | 130-135 | |
| Etienne Deleflie; Greg Schiemer | |||
| Relationship-Based Instrument Mapping of Multi-Point Data Streams Using a Trackpad Interface | | BIB | PDF | 136-139 | |
| Kevin Schlei | |||
| Instrumentalizing Synthesis Models | | BIB | PDF | 140-143 | |
| Lonce Wyse; Nguyen D. Duy | |||
| scoreLight: Playing with a Human-Sized Laser Pick-Up | | BIB | PDF | 144-149 | |
| Alavaro Cassinelli; Yusaku Kuribara; Alexis Zerroug; Masatoshi Ishikawa; Daito Manabe | |||
| Disky: a DIY Rotational Interface with Inherent Dynamics | | BIB | PDF | 150-155 | |
| Karl Yerkes; Greg Shear; Matthew Wright | |||
| Development of the Waseda Saxophonist Robot and Implementation of an Auditory Feedback Control | | BIB | PDF | 156-161 | |
| Jorge Solis; Klaus Petersen; Tetsuro Yamamoto; Masaki Takeuchi; Shimpei Ishikawa; Atsuo Takanishi; Kunimatsu Hashimoto | |||
| A Pedagogical Paradigm for Musical Robotics | | BIB | PDF | 162-165 | |
| Ajay Kapur; Michael Darling | |||
| A Robot Musician Interacting with a Human Partner through Initiative Exchange | | BIB | PDF | 166-169 | |
| Ye Pan; Min-Gyu Kim; Kenji Suzuki | |||
| Introducing L2Ork: Linux Laptop Orchestra | | BIB | PDF | 170-173 | |
| Ivika Bukvic; Thomas Martin; Eric Standley; Michael Matthews | |||
| MoMu: A Mobile Music Toolkit | | BIB | PDF | 174-177 | |
| Nicholas J. Bryan; Jorge Herrera; Jieun Oh; Ge Wang | |||
| Sound Bounce: Physical Metaphors in Designing Mobile Music Performance | | BIB | PDF | 178-181 | |
| Luke Dahl; Ge Wang | |||
| Use the Force (or something) -- Pressure and Pressure -- Like Input for Mobile Music Performance | | BIB | PDF | 182-185 | |
| Georg Essl; Michael Rohs; Sven Kratz | |||
| Dislocated Sound: A Survey of Improvisation in Networked Audio Platforms | | BIB | PDF | 186-191 | |
| Roger Mills | |||
| DRILE: An Immersive Environment for Hierarchical Live-Looping | | BIB | PDF | 192-197 | |
| Florent Berthaut; Myriam Desainte-Catherine; Martin Hachet | |||
| Hey Man, You're Invading my Personal Space! Privacy and Awareness in Collaborative Music | | BIB | PDF | 198-203 | |
| Robin Fencott; Nick Bryan-Kinns | |||
| Cross-Artform Performance Using Networked Interfaces: Last Man to Die's Vital LMTD | | BIB | PDF | 204-207 | |
| Charles Martin; Benjamin Forster; Hanna Cormick | |||
| Evaluating the Subjective Effects of Microphone Placement on Glass Instruments | | BIB | PDF | 208-211 | |
| Alexander R. Jensenius; Kjell Tore Innervik; Ivar Frounberg | |||
| Glitch Delighter: Lighter's Flame Base Hyper-Instrument for Glitch Music in Burning The Sound Performance | | BIB | PDF | 212-216 | |
| Rudolfo Quintas | |||
| Augmenting the Acoustic Piano with Electromagnetic String Actuation and Continuous Key Position Sensing | | BIB | PDF | 217-222 | |
| Andrew McPherson; Youngmoo Kim | |||
| Developing a Hybrid Contrabass Recorder Resistances, Expression, Gestures and Rhetoric | | BIB | PDF | 223-228 | |
| Cesar M. Grossmann | |||
| The Bowed Tube: a Virtual Violin | | BIB | PDF | 229-232 | |
| Alfonso P. Carrillo; Jordi Bonada | |||
| Multimodal Musician Recognition | | BIB | PDF | 233-237 | |
| Jordan Hochenbaum; Ajay Kapur; Matthew Wright | |||
| A Left Hand Gesture Caption System for Guitar Based on Capacitive Sensors | | BIB | PDF | 238-243 | |
| Enric Guaus; Tan Ozaslan; Eric Palacios; Josep L. Arcos | |||
| Support Vector Machine Learning for Gesture Signal Estimation with a Piezo-Resistive Fabric Touch Surface | | BIB | PDF | 244-249 | |
| Andrew Schmeder; Adrian Freed | |||
| Motion To Gesture To Sound: Mapping For Interactive Dance | | BIB | PDF | 250-254 | |
| Jan C. Schacher | |||
| Generative Improv. & Interactive Music Project (GIIMP) | | BIB | PDF | 255-258 | |
| Ian Whalley | |||
| Searching for Cross-Individual Relationships between Sound and Movement Features using an SVM Classifier | | BIB | PDF | 259-262 | |
| Kristian Nymoen; Kyrre Glette; Ståle A. Skogstad; Jim Torresen; Alexander R. Jensenius | |||
| "VirtualPhilharmony": A Conducting System with Heuristics of Conducting an Orchestra | | BIB | PDF | 263-270 | |
| Takashi Baba; Mitsuyo Hashida; Haruhiro Katayose | |||
| New Sensors and Pattern Recognition Techniques for String Instruments | | BIB | PDF | 271-276 | |
| Tobias Großhauser; Ulf Großekathöfer; Thomas Hermann | |||
| Expressive Articulation for Synthetic Music Performances | | BIB | PDF | 277-282 | |
| Tilo Hähnel; Axel Berndt | |||
| Network Jamming: Distributed Performance using Generative Music | | BIB | PDF | 283-286 | |
| Andrew R. Brown | |||
| Glass Instruments -- From Pitch to Timbre | | BIB | PDF | 287-290 | |
| Ivar Frounberg; Kjell Tore Innervik; Alexander R. Jensenius | |||
| A Malleable Interface for Sonic Exploration | | BIB | PDF | 291-296 | |
| Chris Kiefer | |||
| OSC Virtual Controller | | BIB | PDF | 297-302 | |
| Victor Zappi; Andrea Brogni; Darwin Caldwell | |||
| Extending the Soundcard for Use with Generic DC Sensors Demonstrated by Revisiting a Vintage ISA Design | | BIB | PDF | 303-308 | |
| Smilen Dimitrov | |||
| Disembodied and Collaborative Musical Interaction in the Multimodal Brain Orchestra | | BIB | PDF | 309-314 | |
| Sylvain Le Groux; Jonatas Manzolli; Paul F. Verschure | |||
| Designing Expressive Musical Interfaces for Tabletop Surfaces | | BIB | PDF | 315-318 | |
| Jordan Hochenbaum; Owen Vallis; Dimitri Diakopoulos; Jim Murphy; Ajay Kapur | |||
| Toward Algorithmic Composition of Expression in Music Using Fuzzy Logic | | BIB | PDF | 319-322 | |
| Wendy Suiter | |||
| Expressive Wearable Sonification and Visualisation: Design and Evaluation of a Flexible Display | | BIB | PDF | 323-326 | |
| Kirsty Beilharz; Andrew Vande Moere; Barbara Stiel; Claudia Calo; Martin Tomitsch; Adrian Lombard | |||
| Understanding and Evaluating User Centred Design in Wearable Expressions | | BIB | PDF | 327-330 | |
| Jeremiah Nugroho; Kirsty Beilharz | |||
| Online Map Interface for Creative and Interactive | | BIB | PDF | 331-334 | |
| Sihwa Park; Seunghun Kim; Samuel Lee; Woon Seung Yeo | |||
| Analysis of Piano Playing Movements Spanning Multiple Touches | | BIB | PDF | 335-338 | |
| Aristotelis Hadjakos; Max Mühlhäuser | |||
| Designing a Shareable Musical TUI | | BIB | PDF | 339-342 | |
| Sebastian Heinz; Sile O'Modhrain | |||
| Visualizations and Interaction Strategies for Hybridization Interfaces | | BIB | PDF | 343-347 | |
| Adrian Freed | |||
| ANTracks 2.0 -- Generative Music on Multiple Multitouch Devices Categories and Subject Descriptors | | BIB | PDF | 348-351 | |
| Björn Wöldecke; Christian Geiger; Holger Reckter; Florian Schulz | |||
| Hé: Calligraphy as a Musical Interface | | BIB | PDF | 352-355 | |
| Laewoo Kang; Hsin-Yi Chien | |||
| The Sponge A Flexible Interface | | BIB | PDF | 356-359 | |
| Martin Marier | |||
| SurfaceMusic: Mapping Virtual Touch-based Instruments to Physical Models | | BIB | PDF | 360-363 | |
| Lawrence Fyfe; Sean Lynch; Carmen Hull; Sheelagh Carpendale | |||
| Mechanisms for Controlling Complex Sound Sources: Applications to Guitar Feedback Control | | BIB | PDF | 364-367 | |
| Aengus Martin; Sam Ferguson; Kirsty Beilharz | |||
| Wireless Sensor Data Collection based on ZigBee Communication | | BIB | PDF | 368-371 | |
| Jim Torresen; Eirik Renton; Alexander R. Jensenius | |||
| Synchronization of Multimodal Recordings for Musical Performance Research | | BIB | PDF | 372-374 | |
| Javier Jaimovich; Benjamin Knapp | |||
| POLLEN A Multimedia Interactive Network Installation | | BIB | PDF | 375-376 | |
| Giuseppe Torre; Mark O'Leary; Brian Tuohy | |||
| Irregular Incurve | | BIB | PDF | 377-379 | |
| Xiaoyang Feng | |||
| Peacock: A Non-Haptic 3D Performance Interface | | BIB | PDF | 380-382 | |
| Chikashi Miyama | |||
| Associating Emoticons with Musical Genres | | BIB | PDF | 383-386 | |
| Jukka Holm; Harri Holm; Jarno Seppänen | |||
| Untouchable Instrument "Peller-Min" | | BIB | PDF | 387-390 | |
| Yoichi Nagashima | |||
| Ground Me! An Interactive Sound Art Installation | | BIB | PDF | 391-394 | |
| Javier Jaimovich | |||
| Mmmmm: A Multi-modal Mobile Music Mixer | | BIB | PDF | 395-398 | |
| Norma S. Savage; Syed R. Ali; Norma E. Chavez | |||
| An Interactive Responsive Skin for Music | | BIB | PDF | 399-402 | |
| Chih-Chieh Tsai; Cha-Lin Liu; Teng-Wen Chang | |||
| Interactional Sound and Music: Listening to CSCW, Sonification, and Sound Art | | BIB | PDF | 403-406 | |
| Nick Bryan-Kinns; Robin Fencott; Oussama Metatla; Shahin Nabavian; Jennifer G. Sheridan | |||
| Using IR Optical Marker Based Motion Capture for Exploring Musical Interaction | | BIB | PDF | 407-410 | |
| Ståle A. Skogstad; Alexander R. Jensenius; Kristian Nymoen | |||
| "playing robot": An Interactive Sound Installation in Human-Robot Interaction Design for New Media Art | | BIB | PDF | 411-414 | |
| Benjamin Buch; Pieter Coussement; Lüder Schmidt | |||
| Multimodal Guitar: A Toolbox For Augmented Guitar Performances | | BIB | PDF | 415-418 | |
| Loïc Reboursière; Christian Frisson; Otso Lähdeoja; John A. Mills; Cécile Picard-Limpens; Todor Todoroff | |||
| The GRIP MAESTRO: Idiomatic Mappings of Emotive Gestures for Control of Live Electroacoustic Music | | BIB | PDF | 419-422 | |
| Michael Berger | |||
| Sonic Virtual Reality Game: How Does Your Body Sound? | | BIB | PDF | 423-426 | |
| Kimberlee Headlee; Tatyana Koziupa; Diana Siwiak | |||
| Auditory Masquing: Wearable Sound Systems for Diegetic Character Voices | | BIB | PDF | 427-430 | |
| Alex Stahl; Patricia Clemens | |||
| The Ghost: An Open-Source, User Programmable MIDI Performance Controller | | BIB | PDF | 431-435 | |
| Paul Rothman | |||
| Towards a Taxonomy of Realtime Interfaces for Electronic Music Performance | | BIB | PDF | 436-439 | |
| Garth Paine | |||
| humanaquarium: A Participatory Performance System | | BIB | PDF | 440-443 | |
| Robyn Taylor; Guy Schofield; John Shearer; Pierre Boulanger; Jayne Wallace; Patrick Olivier | |||
| Interactive Music Studio: The Soloist | | BIB | PDF | 444-446 | |
| Hyun-Soo Kim; Je-Han Yoon; Moon-Sik Jung | |||
| Surfing the Waves: Live Audio Mosaicing of an Electric Bass Performance as a Corpus Browsing Interface | | BIB | PDF | 447-450 | |
| Pierre Alexandre Tremblay; Diemo Schwarz | |||
| Examining the Spectator Experience | | BIB | PDF | 451-454 | |
| A. Cavan Fyans; Michael Gurevich; Paul Stapleton | |||
| Musical Exoskeletons: Experiments with a Motion Capture Suit | | BIB | PDF | 455-458 | |
| Nick Collins; Chris Kiefer; Zeeshan Patoli; Martin White | |||
| The Helio: A Study of Membrane Potentiometers and Long Force Sensing Resistors for Musical Interfaces | | BIB | PDF | 459-462 | |
| Jim Murphy; Ajay Kapur; Carl Burgin | |||
| FerroSynth: A Ferromagnetic Music Interface | | BIB | PDF | 463-466 | |
| Stuart Taylor; Jonathan Hook | |||
| P[a]ra[pra]xis: Towards Genuine Realtime 'Audiopoetry' | | BIB | PDF | 467-468 | |
| Josh M. Dubrau; Mark Havryliv | |||
| ImprovGenerator: Online Grammatical Induction for On-the-Fly Improvisation Accompaniment | | BIB | PDF | 469-472 | |
| Kris M. Kitani; Hideki Koike | |||
| DeviceCycle: Rapid and Reusable Prototyping of Gestural Interfaces, Applied to Audio Browsing by Similarity | | BIB | PDF | 473-476 | |
| Christian Frisson; Benoît Macq; Stéphane Dupont; Xavier Siebert; Damien Tardieu; Thierry Dutoit | |||
| Reflective Haptics: Resistive Force Feedback for Musical Performances with Stylus-Controlled Instruments | | BIB | PDF | 477-478 | |
| Alexander Müller; Fabian Hemmert; Götz Wintergerst; Ron Jagodzinski | |||
| Revisiting Cagean Composition Methodology with a Modern Computational Implementation | | BIB | PDF | 479-480 | |
| Alison Mattek; Mark Freeman; Eric Humphrey | |||
| Movement in a Contemporary Dance Work and its Relation to Continuous Emotional Response | | BIB | PDF | 481-484 | |
| Sam Ferguson; Emery Schubert; Catherine Stevens | |||
| Gesture Controlled Virtual Instrument with Dynamic Vibrotactile Feedback | | BIB | PDF | 485-488 | |
| Teemu Ahmaniemi | |||
| Creating Integrated Music and Video for Dance: Lessons Learned and Lessons Ignored | | BIB | PDF | 489-492 | |
| Jeffrey Hass | |||
| Packages for ArtWonk: New Mathematical Tools for Composers | | BIB | PDF | 493-496 | |
| Warren Burt | |||
| Wiiolin: a Virtual Instrument Using the Wii Remote | | BIB | PDF | 497-500 | |
| Jace Miller; Tracy Hammond | |||
| The Planets | | BIB | PDF | 501-504 | |
| Max Meier; Max Schranner | |||